When they say your “drum sound is ABSOLUTELY OUT OF THIS WORLD “

How did he get that drum sound on Dylan? And how did you get that name, “Roughmix Don.”

Just so happened that a guy contacted me from a forum a couple years ago where they were chatting about the drums on a recording I had done. It happened to be the Bob Dylan Desire Album that I engineered and mixed in 1975.

“Hello. I’m new here,” wrote Dolphin King,  “And I hope this is the right place to ask this question: On Dylan’s 1975/76 ‘Desire’, the drum sound is ABSOLUTELY OUT OF THIS WORLD –>*DELICIOUS*<–, I mean particularly the snare hits. For example, check out the song ‘Isis’. the snare on that album sounds so solid and powerful, I describe it as inter-stellar-stone-age snare sound. Does anyone here know how that sound was achieved? How do you get such a sound? I MUST know. I’ve posted this on a few different forums. MY KINGDOM FOR AN ANSWER!
Yours,
D.K.”

Well, I tuned in for awhile reading some sarcasm and assorted smartass remarks and DK came back with, “I’ve received some very different answers from different people on this, including on different forums. But thanks again for your reply…By the way, what would your reverb/delay setup be here, if you were trying to get that sound?”

Archtop came back with, “I think it sounds like a real chamber reverb, and there is some on the snare, but not much, at times it seems like I can hear a hint of a tiny short delay (80ms.) on the snare, but in the mix it still seems fairly dry, the verb is sorta washed out and you don’t notice it so easily. If I was trying to get that sound, I would not be concerned with the verb or delay, but look for a snare that is dry and bright on it’s own.”

Seems kind of strange seeing guys write about and speculate and guess what you had done on a recording. So, one of them spotted my name in the credits and sent me an email and asked me to come on the sight.

Posting as “RoughmixDon, I wrote him back, “Thanks for inviting me in. I guess I’m proud to say that ‘Desire’ was one of my best recordings. Drums and bass are my favorites to record. Maybe because I’m a bass player too. I tried to load up the story of the ‘Desire’ session but it cut me off in the middle. Maybe I’ll just have to send it in two or three parts.”

I filled them in with what I had done on that session, since I had taken a lot of notes through the years with a book in mind and then I wrote, “My best advice on trying to achieve the same drum sound is to put “Isis” or one of the others up in your program and a-b and try to match it on the timeline, pitch wise, eq wise and strength wise, echo wise, and level wise.”

In fact, I think this is good advice for anyone attempting to recreate the sound of what someone has recorded. As a side note here, the drums you hear on the song, My Silent Symphony at best advice was very much like Dylan’s fabulous “Desire” drummer, Howie Wyeth, with the great Ronnie Traxler on drums. Dynamite! I recorded Ronnie and all others the same way. You didn’t just set up a microphone, we’d sometimes spend upwards of an hour getting a good drum sound. By the way, I overdubbed about thirty of my voices on My Silent Symphony – Should have been a hit.

“By the way,” DK asked. “Where did you get that name, RoughmixDon?

Well, I explained that for a reference copy, I would set up my mix on a studio session with 8 sub-mixes and ride the faders with 8 fingers riding from the beginning to the end of a song, and almost always, I would come up with a mix that would be at or near a final mix. In a three month session with “Miami” Steve Van Zandt, who hung nicknames on everyone, he hung RoughmixDon on me. Thus was 1977, and I have used it ever since. Later on, I’ll be telling about that grueling winter of ’77, locked in the studio with “Miami Steve,” ‘Southside” Johnny, the Jukes and the “Boss,” Bruce Springsteen. And yes, it was Steve who named him the “Boss.”

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