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drums from “funky drummer” by james brown | ToneDB

funky drummer

james brown

drums

85% ai confidence

Tone Profile

A tight, dry, and incredibly punchy drum sound with a distinct focus on the fundamental tones of each drum, laying the foundation for one of history's most sampled beats.

Signal Chain

Instrument: Kick Drum (Likely Ludwig Super Classic or Hollywood, 20" or 22")

Microphone: Electro-Voice RE20 (or AKG D12/D20)

Processing: Console Preamp (King Studios custom console, likely with UTC transformers, similar to early API/Quad Eight), Console EQ (subtle low-end boost, potential slight mid-cut), Tape Saturation (Ampex MM1000 or similar 2-inch 8 or 16-track tape machine)

Other: Drum heavily dampened (e.g., felt strips, pillow, wallet). Mic possibly placed inside or very close to the resonant head port, or batter head off.

Recording Notes

  • Recorded on November 20, 1969, at King Studios in Cincinnati, Ohio.
  • Performed by the legendary Clyde Stubblefield.
  • Engineered by Ron Lenhoff.
  • Likely recorded to an Ampex MM1000 8-track or 16-track 2-inch tape machine.
  • King Studios was known for its relatively 'dead' or controlled acoustic spaces, contributing significantly to the tight, focused drum sound.
  • The sound is characterized by minimal use of effects; it's primarily derived from the drums themselves, expert tuning, Stubblefield's precise playing, and careful microphone placement.
  • Clyde Stubblefield's intricate ghost notes on the snare are a defining feature of the groove and the overall percussive texture.
  • The mix is very direct and punchy, with each drum element clearly defined.

Recreation Tips

  • Use a vintage-style drum kit (e.g., Ludwig, Gretsch) with single-ply coated heads (e.g., Remo Ambassador).
  • Tune the kick drum for a focused, punchy thud with minimal sustain. Muffle extensively with a pillow, blanket, or felt strips against the heads.
  • Tune the snare drum medium-high and tight. Dampen with a wallet, Moongel, or gaffer tape to achieve a sharp crack with little to no ring.
  • Employ close miking on the kick and snare drums.
  • For overheads, try a single mono microphone or a minimally spaced pair, positioned relatively low to capture the kit's direct sound rather than extensive room ambience.
  • Record in a dry or acoustically well-treated room to avoid excessive reflections and maintain tightness.
  • The performance is paramount: study Clyde Stubblefield's groove meticulously, paying close attention to the dynamics and ghost notes.
  • Drive analog preamps (or emulations) for warmth and character. Utilize tape emulation plugins for saturation and the subtle compression inherent in analog tape recording.
  • Avoid reverb or use it extremely sparingly (e.g., a very short plate reverb mixed low, though the original is famously dry).

Sources