Revolting Cocks production techniques

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sb
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Post by sb » Sat Mar 31, 2012 1:39 am

The clanking percussion loop that runs through No Devotion is sampled from the first track on SPK's Zamia Lehmani album. ...Just thought I'd add that :-)

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Post by newgreyarea » Thu Apr 12, 2012 2:54 pm

Love Paul's bass sound! Ministry's Cannibal Song.
One of my faves!

Both "You Goddamned Son of A Bitch" and "In Case You Didn't Feel Like Showing Up" are excellent live vids/discs. . . . . if you can find them. The latter is on Spotify. Not much for Revco on there though.


Also, David J, Hooky, Dave Allen and whoever played bass for the Cure in the 80's/Early 90's (I feel like they had a couple of peeps. Look it up later.)
Love it!!!

All I have is a Sansamp Bass Driver and my P-Bass. :(
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Post by bil_g » Wed Apr 18, 2012 12:13 pm

While it isn't the vocal effect from No Devotion, I thought this would be worth a mention.

From Tape Op #86 interview with Sanford Parker:

"....I did get to work with this guy Fluffy[Keith Auerbach] - he's the guy who engineered [Ministry's] The Land of Rape and Honey and The Mind is a Terrible Thing to Taste. I learned a lot from him - there's one vocal processing thing I still use today, on every metal record I do.

The Al Jourgensen vocal sound?

Yeah, you take a [dbx] 160 and turn the threshold all the way off, then you turn the ratio all the way down so there's no compression at all, and then turn the output all the way up to where it distorts. Then you send it to another 160, or any other [compressor] - I usually use an [Empirical Labs] Distressor. Then I dial back a reasonable amount [of level] to tape and that's the one I use for my compression. It's cool because you talk into the mic and it sounds completely fine; but as soon as you scream, it starts to hit the output of that 160 and breaks up - to me it just sounds natural."

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Post by jimmyedgar » Fri May 04, 2012 10:01 am

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]
sounds to me like a fake british accent and an eventide harmonizer h910, like the one prince used on the linn drum claps for Vanity Six "Makeup" (around 1:27)

on a modular it would need a delay line with an analog shift register or a pitch shifter in between the feedback

[video][/video]

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Post by continuum » Sun May 27, 2012 6:42 pm

thetwlo wrote:Publison and Fairlight, i think(?) Vocals, no idea. Classic.
They sold a few Publison Infernal Machines and Fairlights on eBay several years ago. Everything was suitably trashed.

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Post by thetwlo » Sun May 27, 2012 7:06 pm

sb wrote:The clanking percussion loop that runs through No Devotion is sampled from the first track on SPK's Zamia Lehmani album. ...Just thought I'd add that :-)
Thanks! also, a great album--albeit surprising from SPK at the time. The early RevCo still holds up amazingly well, hard to get tired of it. The You Often Forget 12" is still a favorite.
[video][/video]
[video][/video]

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Post by 04tm34l3 » Sat Jun 09, 2012 10:04 pm

[video][/video]

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Re: Revolting Cocks production techniques

Post by monoscan » Mon Aug 07, 2017 7:41 am

rico loverde wrote: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...
The Kawai R50e, definitely.

At one point, our last engineer was playing guitar live for Revco before his death. (Jamie Duffy) and we ended up with all of his samples from the Revco set he played at the Wax Trax Retrospectacle. They sound like digital, low bit layered and resampled drum machines. I can try and ask Paul Barker next month when we do Cold Waves with his new band.

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Post by felixer » Mon Aug 07, 2017 9:38 am

Ranxerox wrote:The R-100 isn't a shitty drum machine
+1 but it was noisy ... good sounds though. and a lot of them 8-) sorry i had to sell mine :doh:
don't need midi, don't need keys, just want knobs and cables (all together now ;-)

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Re: Revolting Cocks production techniques

Post by rico loverde » Mon Aug 07, 2017 9:50 am

monoscan wrote:
rico loverde wrote: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...
The Kawai R50e, definitely.

At one point, our last engineer was playing guitar live for Revco before his death. (Jamie Duffy) and we ended up with all of his samples from the Revco set he played at the Wax Trax Retrospectacle. They sound like digital, low bit layered and resampled drum machines. I can try and ask Paul Barker next month when we do Cold Waves with his new band.
This was a long time ago...lol. Ive been working at Malekko for the last 5 years so Ive gotten quite close with Paul since writing this. They mainly used Fairlights for the drum and sample stuff. I asked about the R50e/R100's and he was pretty sure they never used those. Ive been lucky to get a lot of really great samples from him. Nothing I could ever share though. Your in for a treat at Coldwaves. The new music from Malekko the band is amazing.
works for Darkplace Manufacturing

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Re: Revolting Cocks production techniques

Post by induktor » Mon Aug 07, 2017 10:26 am

rico loverde wrote:
monoscan wrote:
rico loverde wrote: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...
The Kawai R50e, definitely.

At one point, our last engineer was playing guitar live for Revco before his death. (Jamie Duffy) and we ended up with all of his samples from the Revco set he played at the Wax Trax Retrospectacle. They sound like digital, low bit layered and resampled drum machines. I can try and ask Paul Barker next month when we do Cold Waves with his new band.
This was a long time ago...lol. Ive been working at Malekko for the last 5 years so Ive gotten quite close with Paul since writing this. They mainly used Fairlights for the drum and sample stuff. I asked about the R50e/R100's and he was pretty sure they never used those. Ive been lucky to get a lot of really great samples from him. Nothing I could ever share though. Your in for a treat at Coldwaves. The new music from Malekko the band is amazing.
I'm super excited to see this and the other acts at cold waves next month! Wax Trax city!

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Re: Revolting Cocks production techniques

Post by monoscan » Mon Aug 07, 2017 10:32 am

rico loverde wrote:
monoscan wrote:
rico loverde wrote: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...
The Kawai R50e, definitely.

At one point, our last engineer was playing guitar live for Revco before his death. (Jamie Duffy) and we ended up with all of his samples from the Revco set he played at the Wax Trax Retrospectacle. They sound like digital, low bit layered and resampled drum machines. I can try and ask Paul Barker next month when we do Cold Waves with his new band.
This was a long time ago...lol. Ive been working at Malekko for the last 5 years so Ive gotten quite close with Paul since writing this. They mainly used Fairlights for the drum and sample stuff. I asked about the R50e/R100's and he was pretty sure they never used those. Ive been lucky to get a lot of really great samples from him. Nothing I could ever share though. Your in for a treat at Coldwaves. The new music from Malekko the band is amazing.
From our shared experiences with so many awesome bands in the industrial scene, I've been fortunate enough to bug bands that were heroes to my influential teens. I think the drum machines themselves were less important than the use of the Fairlight afterwards. All these drum samples sound like they had reverb on and were very hot going into a sampler, were repitched / layered to be thicker but were still those sampled digital drum machines in the beginning of the chain.

I was never a big Cabaret Voltaire fan till recently, and comparing their 1987 Code album to say...Ministry's Land of Rape and Honey, you can hear a lot of similar sounds (pitched down plucks as basslines, those probably layered and pitched down kicks and snares, etc) so I'm willing to bet that Fairlight was the biggest factor in their unique sound.

Also, listen to this for shits and giggles. If I was wax trax, I would have offered this drum machine a handshake contract and an option for three side projects

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Post by risome » Tue Sep 12, 2017 8:11 am

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
Nope Fairlight for drums and Al and Orge had some Massenburg gear in the vocal chain.I know because a friend of mine is friends with Chris Connelly.

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Post by monoscan » Tue Sep 12, 2017 12:41 pm

risome wrote:
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
Nope Fairlight for drums and Al and Orge had some Massenburg gear in the vocal chain.I know because a friend of mine is friends with Chris Connelly.
We are playing with him (and KMFDM / Ohgr / Pankow / F242) in a couple weeks at Cold Waves! Always fun seeing Chris around.

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Post by cretaceousear » Wed Sep 13, 2017 6:13 pm

And this is why there's nowhere else like MW.
:tu:
Never heard of Ministry before - I just know a bit of Cabaret Voltaire and a mate who had a Front 242 record, plus a few other bits.

Ministry've really got something on that piece.
Just weird it's all so long ago and they do that Magazine track which must have been ten years old already.
tick tick tick tick

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Re: Revolting Cocks production techniques

Post by computer controlled » Sat Oct 14, 2017 7:54 pm

rico loverde wrote:Nothing I could ever share though.
:cry:
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Post by prscrptn » Wed Oct 18, 2017 10:21 pm

A friend of mine who worked with them claims their secret to vocals was running JCM900’s in series :tu:

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Post by hyena » Mon Oct 30, 2017 3:09 am

sb wrote:The clanking percussion loop that runs through No Devotion is sampled from the first track on SPK's Zamia Lehmani album. ...Just thought I'd add that :-)
whoah!! never realized it! and Zamia Lehmani is one of my fave albums
great post btw!! following!

(p.s. the Filth Pig album by Ministry is highly underrated or is just my impression? i find it absolutely beautiful in all his decaying charm)

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Post by harlequin » Mon Dec 11, 2017 8:06 am

The Al Jourgensen vocal sound?[/b]
Yeah, you take a [dbx] 160 and turn the threshold all the way off, then you turn the ratio all the way down so there's no compression at all, and then turn the output all the way up to where it distorts. Then you send it to another 160, or any other [compressor] - I usually use an [Empirical Labs] Distressor. Then I dial back a reasonable amount [of level] to tape and that's the one I use for my compression. It's cool because you talk into the mic and it sounds completely fine; but as soon as you scream, it starts to hit the output of that 160 and breaks up - to me it just sounds natural."[/quote]

Thanks! Gonna try that one.

Alas haven't listened to Ministry for years. So many memories

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Post by computer controlled » Thu Nov 08, 2018 10:08 pm

I've been considering buying the Arturia Fairlight VST to try and get that Adrian Sherwood/Keith LeBlanc/Twitch era sound.

Those drum/percussion sounds!!
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Post by felixer » Fri Nov 09, 2018 12:52 am

ringstone wrote: 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...
i had an R50 for a while. good sounds but noisy! that's why i sold it at some point. although i do miss it. eg it had a really good chinese cymbal sound.
don't need midi, don't need keys, just want knobs and cables (all together now ;-)

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Post by mome rath » Fri Nov 09, 2018 2:36 pm

hello, thread that i just fell in love with


filth pig made me than failure of a man that i am today!
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Post by whatmeworry » Fri Nov 30, 2018 11:45 pm

Wow, nostalgia trip!

Now I'm compelled to go dig out my dusty old cd player just to listen to ICYDFLSU. I haven't listened to any RevCo, Lard or Ministry in well over a decade.

Amazing these guys are still around, out there doing their thing.

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Post by 3hands » Fri Mar 08, 2019 5:58 am

Can we, for a moment go back even farther in Ministry’s history to the days of All Day and Halloween?

Can anyone confirm that album was made with little more than a DW8000 and a Fairlight?I’m now thinking out loud, that perhaps Fairlight is all over that album. It’s THAT sound in the overall production. Would WaxTrax simply have purchased the Fairlight and had all of its artists record with it? If that’s the case, how the hell were WaxTrax able to afford one back in the early 80s? Clearly they were a front for a cocoaine operation or something?
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Post by joey » Fri Mar 08, 2019 6:34 am

the only instrument used on the album was cocaine

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