Old school thrash/death metal sound

kettles

Gold Member
Rimshots on everything including your toms will help. Takes some practice but lots of metal drummers do it.
 

Arky

Platinum Member
Haven't listened to those examples, but...

I have the SPL (Sound Performance Laboratory) Transient Designer (hardware - but there's a software version, too) to control attack/sustain and this device has been around for some time now. It can provide extreme results and even adds drastic changes when dialing just a small amount out of the neutral 12 o'clock position. E.g. gear like this in combination with what has been mentioned can manipulate sounds a lot. The Transient Designer is quite common for drum processing.

I also have an analog EQ (Pultec clone) which considerably changes anything sent through it - there is just no way to get a neutral output, there will be significant "colour". Especially when I dial in a lot of "character". Now imagine the big studios have enough gear to assign dedicated EQs, compressions etc to any important signal so you can do extreme sound alterations (without plugins!!).

Just to make you aware that what the microphones "hear" is just one part of the equation.
 

Goreliscious

Senior Member
Cheers for the replies, i'll look into that software. Are there any general tips and tricks though? For example, i was playing around with reverb the other day and putting reverb on the OHs but leaving the toms & snare natural so to speak, to try and get that combination of a big sound but with attack. I'm not the one mixing the recordings b.t.w i uust have a basic DAW i'm experimenting on.
 

Goreliscious

Senior Member
Haven't listened to those examples, but...

I have the SPL (Sound Performance Laboratory) Transient Designer (hardware - but there's a software version, too).
Holy cow, I just YouTubed this software, looks and sounds great...but $177 for 3 dials?!!!
 

Arky

Platinum Member
Well...

1) The price was set by SPL, not me, haha.

2) Look for those 3 dials elsewhere... you won't find it. Having THOSE parameters at your disposal is exactly what is needed to have huge control over the attack/sustain - again, this is extremely handy when processing drum sounds. SPL came up with that piece of gear being an innovation at that time (hardware version). I don't know ANY other hardware/software rivaling it up to the present day. So judge for yourself... I decided to get the 4-channel hardware version and I can tell you it was more than 177 bucks ;-)

Honestly, to a certain degree a normal compressor would do, too. Because a compressor works with similar parameters. But the Transient Designer is way more sophisticated for this specific purpose and is an industry standard. The more you compress the more sustain you'll get. You might already have a compressor plugin - experiment with it, you might be pleased with the results and don't really need the Transient Designer. (I have a bunch of other SPL gear as well - they make a lot of interesting stuff)
 
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Goreliscious

Senior Member
Honestly, to a certain degree a normal compressor would do, too. Because a compressor works with similar parameters.
Yeah it did strike me, (with my very basic knowledge of DAWs, plugins and mixing), as pretty much being a compressor...but it seemed like a few things rolled into one and the price you're paying is for the convience of it.

Shame you don't have the software version...or you could set the price. (If i knew how to do a 'rolling eyes' emoticon, I'd do one now).
 
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