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#61 | |
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Hard-On For Freedom
![]() Join Date: Mar 2007
Location: San Antonio, TX, USA
Posts: 2,540
Thanked: 18
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Quote:
Jeff |
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#62 |
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smut peddler
Join Date: Dec 2007
Location: Milford, CT
Posts: 1,139
Real Name: Stuart
Main Seven: Ibanez RG7321
Rig: Live 6 POD XTLive
Thanked: 21
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The secret behind the sound of about 99% of all touring bands out there is the DDrum 3 brain. It's an ill-kept secret in pro drumming circles, and the reason why those brains are rare and, when you do find one, still in the $2500+ range, even though it's 15 year old technology.
"Listen closely to me now, my darlin' girl...
There's one who's out to have you, and just his breath will burn your curls..." - "Brimstone Rock", 16 Horsepower |
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#63 |
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His Djentedness, The Bulb
Join Date: May 2006
Location: Washington DC
Posts: 1,799
Real Name: Lord Awesomeguy
Main Seven: Carvin DC 747/EBMM JP7
Main ERG: TIL custom 8 string
Rig: Engl->Gmajor->Orange
Thanked: 83
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if anything i would say that because triggers allow such present and consistant and fast attack, that they are almost harder to play on, sure you can play fast double bass without hitting hard, but they will be way more revealing than natural drums because of the way your kick drums will cut through.
its a stamina issue really, not all drummers have the ability to play a whole 250 bpm set at full velocity with mikes, its just inhuman to expect that, and triggers have shaped the sound of the extreme metal genre and allowed for that music to exist. |
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#64 | |
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ss.org Regular
Join Date: May 2007
Location: Essex, UK
Posts: 601
Real Name: Dave
Main Seven: RG1527 w/ DiMarzios
Rig: Mesa Roadster + 2x12
Thanked: 8
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Bulb speaks, I listen!! Im guessing Mr. Orb triggers his kit?
Quote:
Life is a waste of time, time is a waste of life.
Get wasted all the time and you'll have the time of your life! ![]() R.I.P. Mr. Bag ![]() |
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#65 |
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Hard-On For Freedom
![]() Join Date: Mar 2007
Location: San Antonio, TX, USA
Posts: 2,540
Thanked: 18
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Jesus God, did you not read any of my other posts at all?
Opening gates - allows a track to be active only a given time after a drum has only been hit - say you have tom mics going bonkers because they're surrounded by the snare and cymbals, and you want to only have them active when the toms are in use... triggers can open gates. Adjusting plugin/effect parameters and ducking or raising any volumes temporarily - same situation - perhaps you don't want to kill the toms, but ducking them when the snare is hit is necessary... Activating other media onstage... if you want a sequence of lights to go off at a certain time, and you know exactly how many snare hits (or whatever) there should be, you can have them set off automatically after a given number of trigger 'clicks' and not have to worry about playing anything differently. Or perhaps you want to change sounds when the trigger registers soft hits, to integrate a wide range of sounds more easily... set a threshold and when the intensity drops there's a reliable way of having a different sound with a different style. Go back and read what I said earlier... it doesn't seem that you have yet. I posted for a reason. Asking a question and not following through with a discussion, only to come back later and show off ignorance of what happened in your own bloody thread, is very annoying. Jeff |
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#66 | |
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ss.org Regular
Join Date: Jul 2007
Location: glasgow scotland
Posts: 1,756
Main Seven: RG1527
Rig: VHT Sig X -> ENGL
Thanked: 12
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Quote:
this is just one example but to be fair you dont seem to actually know much about drumming on the whole. I think you based your origional post on a pretty narrow base of musical styles. saying 'iv done more looking into it' about extreme metal drumming needing triggers is pretty daft as the use of triggers in drumming should instantly make you think of extreme metal drumming because thats where its most common?!?! |
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#67 |
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Hard-On For Freedom
![]() Join Date: Mar 2007
Location: San Antonio, TX, USA
Posts: 2,540
Thanked: 18
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He also hasn't looked into this thread very well, apparently.
Jeff |
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#68 |
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ss.org Regular
Join Date: Jun 2007
Location: Li,NY
Posts: 308
Thanked: 6
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i have always been fond of triggers. before i learned to play any instruent, i thought you could buy a drumset and have it sound like lars ulrichs drum set right there in your bedroom. (not claiming ulrich's uses triggers or not,, just saying) but i honestly am more impressed with the sound of the modules. cause ray herrera always had a budget sounding kick drum to me taste, where as vinnie paul always had a thick ass kick sound. so it depends on what is sampling the sounds. at least for me.
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#69 | ||
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ss.org Regular
Join Date: May 2007
Location: Essex, UK
Posts: 601
Real Name: Dave
Main Seven: RG1527 w/ DiMarzios
Rig: Mesa Roadster + 2x12
Thanked: 8
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Quote:
Quote:
And Jeff yes I did read your reply about gating, parameters, but i thought that still came under sound replacement as its still the idea of having a sample played. unless you mean you have JUST the signal from the mics being gated in response to the triggers...? thinking about that, that's a really clever way of using triggers, and i can totally see why guys like portnoy would use triggers. basically when i started the thread i thought 'triggers' meant sound replacement with samples on the kicks, as that was the ONLY context in which id heard people mention triggers. but now that i understand about triggers being able to gate the signal from tom mics (this is what you mean, right?) etc., i can totally respect what you said earlier about "you dont dislike triggers, you dislike sound replacement". so do a lot of drummers outside of metal use triggers in this way? thanks for you help btw. |
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#70 | |
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The Viking himself
Join Date: Nov 2004
Location: Sheffield, UK
Posts: 2,154
Real Name: Stuart
Main Seven: LTD M207 and Jackson RR7R
Main ERG: Intrepid Pro soon :D
Rig: Invader 150
Thanked: 17
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![]() Just being a dick, ignore me, I couldn't help it ![]() |
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