DECiBEL团队| 2020年10月25日| 4.42 GB
Royal Drops是一张由Timmy Rickard精心设计和表演的15首甜蜜鼓乐曲的专辑。Royal Drops借鉴了1970年代在孟菲斯Royal Studio制作的音乐。传奇唱片制作人兼Hi Records创始人Willie Mitchell的故乡。曲目基于Hi Record艺术家Al Green和Anne Peebles的录音，鼓手Al Jackson JR和Howard Grimes提供了无误的音色。
此版本包含了经典Hi Records鼓声音中的关键组件，包括摇摆的低音鼓模式，强调了高音的8th音符，经典的简单鼓填充和一些6/8鼓凹槽。之所以崇敬这种鼓风格，很大的原因是因为Al Jackson JR和Howard Grimes精心设计了鼓声。使用相同的精神，Royal Drops将是寻求无限创意的创作者和作曲家的完美选择。
与一个麦克风不同，在60年代/ 70年代初，Motown和Stax会发出大型的开放式房间鼓声，Willie Mitchell则更喜欢一个小的干燥房间，通常在鼓组上使用三个或四个麦克风。为了捕捉相同的氛围，我们在Miloco的The Square使用了非常适合的干燥客厅。麦克风位置背后的概念是此版本独有的。我们使用了四个麦克风，每个麦克风都放置在套件周围的精心选择的位置，因此每个麦克风都可以捕获整个鼓组，这意味着您可以将任何一个麦克风用作您的鼓声，也可以将部分/全部麦克风混合在一起来创建您理想的声音。
我们使用了一个位于高音帽和架子鼓之间的Coles 4038，它发出的军鼓声很重。第二个Coles 4038位于架子鼓和地板鼓之间的吊ride下方，产生低音沉重的声音。第三个Coles 4038位于Timmy前后方约4英尺处，位于地板鼓室一侧，捕获了老式Gretsch套件中所有可爱的攻击声。使用的第四个也是最后一个麦克风是Beyer M160或STC 4021（又名Ball＆Biscuit麦克风）。它被放置在更常规的头顶位置，直接位于小军鼓上方，捕获了经典的lofi鼓声音。麦克风经过了Neve 1066麦克风前置，两个Telefunken V76和Calrec PQ1061。当然，就像所有其他Drumdrops鼓声一样，我们录制到2“
如果没有正确的套件，声音将无法完成。我们使用了蒂米·里卡德（Timmy Rickard）的1960年代复古Gretsch鼓和20“ x 14”踢鼓，13“ x 9”机架汤姆和16“ x 16”地板汤姆。所使用的军鼓是两个Gretsch著名的枫木军鼓（14“ x 6”和14“ x 5”），Ludwig Acrolite 14“ x 5”和Ludwig 400“ 14” x 5“的组合。Cy片听起来很美。博斯普鲁斯新奥尔良高顶礼帽（2 x 16“撞车），20”骑行和18“撞车。在许多轨道上，我们都添加了振动筛，手鼓或康茄舞。
如果没有被蒂米的钱包静音的标志性低音圈，对皇家录音室鼓声的赞美就无法完成。鼓槌上偶尔会使用经典的茶巾技巧，c架上的链条也使用了爵士乐风格的某些音轨。但是，如果不是因为蒂米（Timmy）教给自己的演奏方式非常轻巧，就模仿了这些经典鼓手的演奏方式，那么所有这些触感将仍然过时。
循环包在每个分量主干中都包含活动的4 bar循环，以及一个凹槽和填充文件夹，这些文件夹是锁定在节拍上的2 bar循环。我们从每个鼓音轨中都包含了许多有用的循环。循环的格式为24位WAV，Apple Loops（24位和16位）和Rex 2文件。
该包包含：
所有15个皇家滴环包。
每个组合包含从每个音轨中提取的大约5个4 bar循环，并带有每种麦克风的混合音。
大约75个循环，具有450个变化。
Team DECiBEL | 25 October 2020 | 4.42 GB
Royal Drops is an album of 15 sweet soul drum tracks, engineered and performed by Timmy Rickard. Royal Drops takes its reference from the music produced at Royal studio in Memphis during the 1970’s. Home to legendary producer and founder of Hi Records, Willie Mitchell. The tracks are based upon recordings of Hi Record artists Al Green and Anne Peebles, with drummers Al Jackson JR and Howard Grimes providing their unmistakable grooves.
This release incorporates key components found in the classic Hi Records drum sound, including swung bass drum patterns, 8th note emphasis on the hi hats, classically simple drum fills and a few 6/8 drum grooves. A big reason why this drum style is so revered is because of the thoughtful simplicity in which Al Jackson JR and Howard Grimes composed their drum parts. Using that same ethos, Royal Drops will be perfect for a wide range of producers and composers who are looking for timeless grooves to get creative with.
Unlike the one microphone, large open room drum sounds coming out of Motown and Stax in the 60’s/early 70’s, Willie Mitchell preferred a small dry room, often using three or four microphones on the drum kit. To capture the same vibe we used the perfectly suited dry live room at Miloco’s The Square. The concept behind the mic positioning is unique to this release. We used four mic’s, each placed in carefully selected positions around the kit, so each mic captures the drum kit as a whole, meaning you can use any one mic as your drum sound, or you can blend some/all of the mic’s to create your ideal sound.
We used one Coles 4038 positioned between the hi hat and the rack tom, which gives a snare heavy drum sound. The second Coles 4038 was positioned under the ride cymbal between the rack tom and the floor tom, which produces a bass drum heavy sound. The third Coles 4038 was positioned about 4ft behind and to the right of Timmy, on the floor tom side, capturing all the lovely attack sound from the vintage Gretsch kit. The Fourth and final mic used was either a Beyer M160, or an STC 4021 (aka – Ball & Biscuit mic). This was placed in a more conventional overhead position, directly over the snare drum, capturing that classic lofi drum sound. The mic’s went through a Neve 1066 mic pre, two Telefunken V76s and a Calrec PQ1061. Of course like all other Drumdrops drum tracks we recorded on to 2″ 16 track tape running at 15 ips to give extra bottom end.
The sound though would not be complete without the right kit. We used Timmy Rickard’s vintage 1960’s Gretsch with a 20″ x 14″ Kick drum, 13″ x 9″ Rack Tom and a 16″ x 16″ Floor Tom. The snares used were a combination of two Gretsch Renown Maple Snares (14″ x 6″ and 14″ x 5″), a Ludwig Acrolite 14″ x 5″ and a Ludwig 400″ 14″ x 5″. Cymbals were wonderful dark sounding Bosphorous New Orleans Hi Hats (2 x 16″ Crashes), a 20″ Ride and an 18″ Crash. On a number of tracks we have added shakers, tambourines or congas.
This tribute to the Royal Studio drum sound would not be complete without the signature low pitched snare, muted by Timmy’s wallet. The classic tea towel trick on the toms was occasionally used, as was a chain on the ride cymbal giving certain tracks that jazz flavour. However all these touches would remain obsolete if it weren’t for the fact that Timmy has educated himself to play with a really light touch, mimicking the way these classic drummers played.
The loop packs contain live 4 bar loops in each component stem and a folder of grooves and fills which are 2 bar loops locked to the beat. We have included as many useful loops that we can get from each drum track. The loops come formatted as 24 bit WAVs, Apple Loops (24 bit and 16 bit) and Rex 2 Files.
This Pack Contains:
All 15 Royal Drop Loop Packs.
Each pack contains about five 4 bar loops taken from each track and comes with mixes of each of the mics.
Approximately 75 loops with 450 variations.
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