Revolting Cocks production techniques

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rico loverde
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Revolting Cocks production techniques

Post by rico loverde » Sun Oct 23, 2011 9:31 pm

I've been obsessed with the revolting cocks stuff from the late eighties. Would love to know what was going on production wise besides massive amounts of speed, heroin, and LSD...

Especially interested in Paul Barkers bass sound, Chris Connellys / Al Jourgensons vocals, and synth stuff.

On songs like:
Get down, Something Wonderful,In the neck, No devotion, Sergio (newer than the rest) etc etc

Also what does Ogre use for his vocals?

Thanks guys...
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Post by ringstone » Sun Oct 23, 2011 9:44 pm

Not sure on vocal production technique but apparently a shitty Kawai R100 drum machine is essential for that drum sound :hihi:

Cheers
Blair

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Post by Spanningtree » Sun Oct 23, 2011 9:48 pm

Really like the Revolting Cocks. No Devotion is one of my fav bits out there.

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Post by rico loverde » Sun Oct 23, 2011 9:59 pm

ringstone wrote:Not sure on vocal production technique but apparently a shitty Kawai R100 drum machine is essential for that drum sound :hihi:

Cheers
Blair
Thanks Blair!
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Post by rico loverde » Sun Oct 23, 2011 10:05 pm

Spanningtree wrote:Really like the Revolting Cocks. No Devotion is one of my fav bits out there.
such an amazing song, it's been on repeat all day today. Check this video out of it with Ogre singing

[video][/video]
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Post by rico loverde » Sun Oct 23, 2011 10:47 pm

Nelson Baboon wrote:fuck. mesmerized by this. LOVE that vocal processing, among other things.
It gives me chills.
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Post by Nelson Baboon » Sun Oct 23, 2011 10:51 pm

fantastic.

you know, I don't have any of their records. is there one is should get first. Damn, that was so, so good.

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Post by Spanningtree » Sun Oct 23, 2011 10:52 pm

rico loverde wrote:
Spanningtree wrote:Really like the Revolting Cocks. No Devotion is one of my fav bits out there.
such an amazing song, it's been on repeat all day today. Check this video out of it with Ogre singing

[video][/video]
Fucking brilliant!!

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Post by thetwlo » Sun Oct 23, 2011 10:53 pm

Publison and Fairlight, i think(?) Vocals, no idea. Classic.

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Post by rico loverde » Sun Oct 23, 2011 11:09 pm

Nelson Baboon wrote:fantastic.

you know, I don't have any of their records. is there one is should get first. Damn, that was so, so good.
check out "Big sexy land" and "beers,steers, and queers"

The song below is off Big Sexy Land
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Post by Pentachoron » Mon Oct 24, 2011 12:40 am

Nelson Baboon wrote:fantastic.

you know, I don't have any of their records. is there one is should get first. Damn, that was so, so good.
I believe “Big Sexy Land” was the first, and an excellent, Revco LP, and “Beers, Steers and Queers” was the last one I remember being truly solid and essential (and I think that one also had a few vocal performances by Ogre as well). After that what I heard seemed to quickly slide into mediocrity and self-parody.

If nothing else, these strongest Revolting Cocks tracks pretty much prove “song” writing ability, instrument proficiency, and youthful abandon and near-indestructibility pretty much almost always trump and transcend an extensive, or meager electronic instrument collection.

Be sure to give a listen to Paul Barker’s solo project, Lead Into Gold, as well.

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Post by computer controlled » Mon Oct 24, 2011 1:52 am

The Beers, Steers and Queers remixes are the highlight of RevCo's output. The live album, You Goddamn Son of a Bitch is essential as well. There's a video of it, but good luck finding it! Liger Fickin' Good is pretty decent as well. Their cover of Do Ya Think I'm Sexy is brilliant.

Al was big user of the Fairlight, and a lot of the drum sounds came from that. I'm not sure what drum sounds Bill Rieflin uses. He lives in Seattle, so i ever run into him, i'm gonna ask =o]

According to Luc Van Acker, vocal processing on We Shall Cleanse The World was an AMS Reverb (non-lin) + Ibanez tubesreamer. So that was probably the same as the rest of the Big Sexy Land material as well.

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Post by tokyocat » Sun Nov 27, 2011 1:22 pm

Chris Connelly wrote a book about his time with Ministry and Revolting Cocks. I haven't read it but it's supposed to have some chapters about the recording sessions.

You could also try asking the Malekko guys, Paul Barker is/was working with them...

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Post by rico loverde » Sun Nov 27, 2011 1:35 pm

tokyocat wrote:Chris Connelly wrote a book about his time with Ministry and Revolting Cocks. I haven't read it but it's supposed to have some chapters about the recording sessions.

You could also try asking the Malekko guys, Paul Barker is/was working with them...
I read it, its what sparked my interest in all things RevCo again!!! fun read. Ill have to shoot Josh at Malekko an email some day...
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Post by tokyocat » Sun Nov 27, 2011 1:52 pm

The backing track in that Revolting Cocks 'No Devotion' clip you posted sound very similar to this piece by Jean Michel Jarre called 'Wooloomooloo" (from his Zoolook album, released in 1984):

[video][/video]

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Post by Morley » Sun Nov 27, 2011 2:47 pm

tokyocat wrote:The backing track in that Revolting Cocks 'No Devotion' clip you posted sound very similar to this piece by Jean Michel Jarre called 'Wooloomooloo" (from his Zoolook album, released in 1984):
Fairlight Library!

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Post by VanEck » Wed Dec 07, 2011 6:04 pm

As far as vocal processing goes, the Boss SE-70 does a hell of a job replicating that type of industrial sound and pitch shifting and can be found relatively cheap on ebay these days. The delay Ogre used quite often live was a Lexicon PCM-41 with repeat switch for Skinny Puppy, but not sure if that's what is being used for this live performance but sounds like it.
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Post by rico loverde » Wed Dec 07, 2011 6:25 pm

I saw ohgr play the other night, he had a Malekko e616, Malekko 213, and an ISP decimator for his vocal chain
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Post by Ranxerox » Wed Dec 07, 2011 6:36 pm

The R-100 isn't a shitty drum machine; it was in a similar league to the Yamaha RX5 and would have cost quite a bit when th eywere using it.

If you want to make stuff that sounds like Revco, it probably helps to be a drug-fucked genius who likes screaming stuff like 'Suck it and see - salute me!' through a distortion.

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Post by ringstone » Thu Dec 15, 2011 12:02 am

Ranxerox wrote:The R-100 isn't a shitty drum machine; it was in a similar league to the Yamaha RX5 and would have cost quite a bit when th eywere using it.

If you want to make stuff that sounds like Revco, it probably helps to be a drug-fucked genius who likes screaming stuff like 'Suck it and see - salute me!' through a distortion.
Unlike the Yamaha machines the R-100 seemed to get a bad reputation for being unrealistic/artificial sounding. Which of course meant that it was far better suited to industrial music rather than mainstream rock/pop.

Of course when the Roland TR-808 and TB-303 were released much the same things were said... if you want to see the R-100 rise to the heights of price those machines go for go ahead and talk it up but I'd much rather see them stay at around the $100 mark :lol:

Cheers
Blair

Edit: BTW I will add that I have owned Kawai gear and found it to be good quality both soundwise and buildwise but I'm aware of many "serious" muso's who look down their noses at it due to their association with the "home keyboard" side of the market...

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Post by Taika-Kim » Thu Feb 02, 2012 11:13 am

Oh, it's a band, I first thought this might be wild ;)
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Post by greydominion » Mon Mar 26, 2012 2:52 pm

I just got the Kawai drum samples for my MPC, and they're absolute perfect. Also note that the sounds from the Kawai R50e were used a lot for Wax Trax (more electronic/processed sounds and orch hits ;-) ). The sound chip could be swapped to the R100 which had superior memory, indv outs, etc.

Any more suggestions for vocal processing? Could it have been an H3000 or is it all delay manipulation?

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Post by plink » Sat Mar 31, 2012 12:00 am

greydominion wrote:I just got the Kawai drum samples for my MPC, and they're absolute perfect. Also note that the sounds from the Kawai R50e were used a lot for Wax Trax (more electronic/processed sounds and orch hits ;-) ). The sound chip could be swapped to the R100 which had superior memory, indv outs, etc.

Any more suggestions for vocal processing? Could it have been an H3000 or is it all delay manipulation?
I saw a Ministry show from behind the mixing boards in ~1996 (Filth Pig era), and it was all Eventide from what I could tell. And it was spot-on, a real thing of beauty.

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