ABBEY ROAD 60s DRUMMER

Recreating the sound of an era is not just a question of EQ or effects. Only by using the instruments, the recording equipment and the techniques of the period is it possible to capture the distinctive sound.

For example: A popular drum recording technique of the 1960s was to cover the snare and toms with tea towels, for a dampened sound. These ‘tea towel’ sounds are provided here, as one of up to six different articulations per drum.

Other snare articulations include center hits, halfway hits, rimshot, flam, roll and others. Drums were recorded in up to 30 velocity layers.

Kick: 24" Gretsch Round Badge Kick
Snare 1: 14" x 5" Ludwig Jazz Festival Snare
Snare 2: 14" x 6.5" Ludwig Mahogany Snare
Hi-hat: Early 60s Zildjian Vintage Hihat
Rack Tom: 13" Gretsch Round Badge Rack Tom
Floor Tom: 16" Gretsch Round Badge Floor Tom
Cymbals: Early 60s Zildjian High Crash, Early 60s Zildjian Low Crash, Early 60s Zildjian Ride, Early 60s Zildjian Sizzle

Kick: 22" Ludwig Hollywood Kick
Snare 1: 14" x 5" Ludwig Supra-Phonic 400 Snare
Snare 2: 14" x 5.5" Radio King Snare
Hi-hat: Late 60s Zildjian Vintage Hihat
High Rack Tom: 12" Ludwig Hollywood Rack Tom
Low Rack Tom: 13" Ludwig Hollywood Rack Tom
Floor Tom: 16" Ludwig Hollywood Floor Tom
Cymbals: Late 60s Zildjian High Crash, Late 60s Zildjian Low Crash, Late 60s Zildjian Ride, Late 60s Zildjian Sizzle

Both kits were recorded using only the best period equipment, including the legendary REDD.17 valve mixing desk from 1958, an EMI TG mixing desk introduced in 1967 as well as a valve Studer J37 4 track 1-inch tape machine from 1964.

Each kit was recorded with an array of microphones from the studio's microphone collection - one of the largest in the world. A selection of classic Neumann, AKG, Sony and STC models were used to record each drum and percussion element from both close range and further away - capturing the legendary ambience of Abbey Road's Studio Two.
Detailed specs about recording equipment...

ABBEY ROAD | 60s DRUMMER was Executively Produced by Peter Cobbin, Abbey Road's Director of Engineering, recorded by Mirek Stiles and assisted by John Barrett and Kris Burton. Native Instruments sound designers Paul Maurer and Nicki Marinic were on hand to oversee the sessions. Drumming duties were performed by one of London’s top musicians, Ralph Salmins.

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