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drums from “when doves cry” by prince | ToneDB

when doves cry

prince

drums

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Tone Profile

A stark, groundbreaking electronic drum sound, defined by the Linn LM-1, featuring a uniquely tuned-down and gated kick, flanged hi-hats, and delayed/reverberated snare/claps. The overall vibe is dry, punchy, and rhythmically precise, famously lacking a traditional bass drum or acoustic cymbals.

Signal Chain

Instrument: Linn LM-1 Drum Computer

Amp: N/A (Individual outputs direct to console channels)

Processing: Kick: Stock LM-1 kick sample tuned down significantly (e.g., -12 to -20 semitones), Kick: API EQ (boosting attack/point, e.g., 3-5kHz, and low-end fundamental), Kick: Allison Research Kepex noise gate (tight setting for percussive thud), Hi-Hats: Boss BF-2 Flanger (moderate speed and depth), Snare/Clap: AMS RMX16 Digital Reverb (Non-Lin 2 preset or similar short, gated ambience/delay), Overall: Mixed on an API console, likely utilizing its channel EQs and summing characteristics

Other: Individual outputs from the Linn LM-1 were crucial for discrete processing of each drum element. The overall mix is very dry and upfront, with minimal global effects.

Recording Notes

  • The entire drum track was programmed and performed by Prince on a Linn LM-1 Drum Computer.
  • No acoustic drums were used in the recording.
  • Prince, along with engineer Peggy McCreary (and sometimes Susan Rogers), extensively processed individual LM-1 sounds.
  • The iconic kick drum is an LM-1 sample pitched way down, then equalized with an API EQ for 'point', and finally gated tightly with a Kepex.
  • The hi-hats feature a prominent Boss BF-2 flanger effect.
  • Snare and clap sounds were often processed with an AMS RMX16, using presets like 'Non-Lin 2' for a short, distinctive ambience.
  • Recorded at Sunset Sound, Studio 3, Los Angeles.
  • The song famously omits a bass line, making the drum track a central rhythmic and even melodic element.

Recreation Tips

  • Use high-quality Linn LM-1 samples as your foundation (kick, snare, clap, hi-hat).
  • For the kick: Pitch the LM-1 kick sample down significantly (1-2 octaves). Apply a sharp EQ boost in the high-mids (3-5kHz) for attack and a tight noise gate for a punchy, short sound.
  • For the hi-hats: Insert a flanger plugin (emulating a Boss BF-2) with a moderate rate and depth. Adjust to taste to match the original's movement.
  • For the snare/clap: Use a short, gated reverb or a non-linear reverb preset (like those found on AMS RMX16 emulations). A tight digital delay can also contribute.
  • Process each drum element on its own channel for maximum control, mimicking the use of individual LM-1 outputs.
  • Keep the overall drum mix relatively dry and upfront. Avoid long reverb tails.
  • Program the beat with precise, machine-like timing. Quantize heavily if needed.
  • Listen critically to the original track for the specific rhythmic interplay and effect nuances.

Sources