Gated Reverb

>>Back when ‚Intruder‘ came out, it wasn’t just the lyrics that had an impact. The drum sound on this track went on to define a lot of pop and rock music in the early 80s, with the revolutionary use of gated reverb. I was just wondering if you could talk me through this and what role Phil Collins, engineer Hugh Padgham and producer Steve Lilywhite played in this?

Peter Gabriel: You’d probably get three or four different answers to this question depending on whether you asked me, Hugh Padgham, Phil Collins or Steve Lilywhite. My version is that Hugh had already used gated reverb on an XTC album but he used it as a colouring agent in the way that people use FX. It is my belief that when the song was written around my basic [drum machine] programmed pattern, it originally had a much fuller arrangement. When Hugh put on the gated reverb, I got incredibly excited by it and I thought that it was going to change the way that drums sounded. I said, ‚Let’s turn it up, let’s really put the drums loud and proud at the front of the mix and everything else will be subservient. I asked Phil then to just repeat that pattern from start to finish without putting in any fills. I also asked him to take all the metal off the kit, there were no cymbals and no hi-hats. I don’t think anyone would dispute that. [ Collins, kept on going to hit bits of kit that weren’t there so they eventually replaced the missing cymbals with more toms, Ed ] Steve is a great producer. He has many talents now but back then his main talent was that he was good at recognizing moments and getting great performances out of people. Hugh wasn’t sure about it but he created that thing. [Making ‚Intruder‘] to me was the defining moment. But then of course the record that made the sound much more famous than mine was Phil’s ‚In The Air Tonight‚. He hadn’t met Hugh before that session and he then invited him to come and work on all of his records and that song went on to become a massive international hit, in the way that ‚Intruder‘ was never going to be.<< [Quelle]

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3 Antworten to “Gated Reverb”

  1. Oli Says:

    >>Bei den Aufnahmen für das Lied Intruder in Studio 2 der Townhouse Studios entstand der „gated-reverb“-Sound. Intruder war ein Lied für das dritte Soloalbum von Peter Gabriel (auch III oder Melt). Das Mischpult für Studio 2, eine SSL-Konsole, hatte eine neue Gegensprechanlage und Kompressoren und Gates für jeden Kanal. Für die Kommunikation mit Padgham hatte Phil Collins ein Raummikrofon über seinem Schlagzeugkit. Als Padgham die Gegensprechanlage bei zufällig eingeschaltetem Gate betätigte um mit dem spielenden Collins Kontakt aufzunehmen, hörte er den Schlagzeugsound des nicht direkt an den Fellen sondern über dem Kit installierten Mikrofons mit einer durch das Gate beschnittenen Hüllkurve und war sofort von diesem Klang beeindruckt.<<
    http://de.wikipedia.org/wiki/Hugh_Padgham

  2. Zufall? Jedenfalls eine neue Bestimmung! « E-BEATS Says:

    […] Mischpult (wird beim Dub selbstverständlich als Instrument verstanden, check mal den Feedback loop >>…gradually turn up the aux send on the return channel(s), so that you’re sending the returned signal from the delay unit back to its own input.<<), ist aber auch für zufällige Überraschung gut: Hugh Padgham entdeckte dank des SSL-Talkbacks den “gated reverb” Drumsound. […]

  3. Workshop Drums & Percussion “Signature Sounds (VII) Rundumschlag” | E-BEATS Says:

    […] https://87bpm.wordpress.com/2011/09/20/gated-reverb/ […]

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