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drums from “wipe out” by the surfaris | ToneDB

wipe out

the surfaris

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Tone Profile

A raw, punchy, and highly energetic early 60s surf rock drum sound, characterized by its cutting snare, explosive tom fills, and lively room reverberation. Ron Wilson's iconic performance is central to the sound.

Signal Chain

Instrument: Vintage 1960s Drum Kit (likely Ludwig: e.g., 20" or 22" Kick, 12" Rack Tom, 16" Floor Tom, 5x14" Ludwig Snare)

Amp: N/A

Microphone: Kick: Electro-Voice 664 or Altec 633A; Snare: Shure 545 (or Shure 55S); Overheads (mono or stereo pair): RCA 44-BX or RCA 77-DX; Toms: Primarily captured by overheads, possibly spot-miked.

Processing: Paul Buff Custom Console EQ, Pal Studio Echo Chamber Reverb

Other: Recorded to an Ampex 3-track or 4-track tape machine. The bright, live room sound of Pal Recording Studio was a key component. Ron Wilson's energetic playing style, especially the single-stroke rolls and fills, defined the performance.

Recording Notes

  • Recorded in late 1962 at Pal Recording Studio in Cucamonga, California, engineered by the innovative Paul Buff.
  • Pal Studio was renowned for its bright, reverberant room sound and Paul Buff's custom-built mixing console and recording equipment.
  • The drum sound prominently features natural room ambience, likely augmented by Pal Studio's famous echo chamber.
  • Recorded to an Ampex 300-3 (3-track) or similar tape machine, contributing to the characteristic warmth and slight saturation of the era.
  • Miking techniques were typical for the early 1960s, likely employing a minimal setup (e.g., kick, snare, and one or two overheads) compared to modern standards.
  • Ron Wilson's drum performance, particularly the extended solo featuring rapid-fire single-stroke rolls on the snare and toms, is the song's most recognizable element.

Recreation Tips

  • Use a vintage-style 4-piece drum kit (e.g., Ludwig, Rogers) with single-ply heads (like Remo Ambassador) for an open, resonant tone.
  • Tune the snare drum relatively high and crisp for a sharp, cutting attack with good snare wire response. Toms should be tuned for clear pitch and sustain.
  • Practice Ron Wilson's iconic single-stroke roll patterns on the snare and toms with precision, speed, and high energy.
  • Employ minimal miking: a dynamic mic on the kick (e.g., EV RE20, AKG D112), a dynamic on the snare (e.g., Shure SM57), and one or two ribbon or large-diaphragm condenser overheads.
  • Capture a natural room sound if possible by recording in a lively space. Alternatively, use high-quality chamber or plate reverb plugins (e.g., UAD EMT 140, Valhalla VintageVerb) to emulate the Pal Studio ambience. The reverb should be noticeable but not overwhelming.
  • Apply subtle EQ; avoid aggressive shaping. A gentle high-frequency lift on overheads can add sparkle if needed.
  • Consider using a tape saturation plugin on the drum bus or individual tracks to impart vintage warmth and subtle dynamic control.
  • The performance is paramount: play with intensity, a driving feel, and ensure the fills are executed cleanly and powerfully.

Sources