Using our trusty Overstayer Saturator in parallel, we added more harmonics and dirt to the attack by EQing a little bass out before the saturation, and back in afterwards (via API EQs) we were able to really drive the midrange on things like the Toms. Once the clean samples were captured we did a round of processing to provide some color and RMS (loudness) to the kit. Each drum voice was tuned by hand (tilting back the hood of the drum machine and accessing the little thumb wheel) 24 times. We tracked every hit through an API 512 preamp, to tape, and through an Apogee Symphony MKII. In an effort to retain the exact character and punch of the original machine, the recording process was kept simple. But it also features a range of sounds the DX does not - a more LM1 type clap, that amazing 90s house rimshot and tambourine, a ride cymbal, and a second group of toms.
Like the DX, the DMX has a warm bass drum, crunchy snares, boxy boogie toms, classic hi hats and shaker. And despite being digital, the filters give it an unmistakeable organic warmth, making the sounds come alive, and sit easily in a mix. All samples pass through the famous Curtis 3320 analog filter chip, and are output through crunchy, old skool converters.įrom this you might assume the DMX sounds Lo Fi - but you'd be wrong! Instead, the sound is sophisticated and classic - like a pseudo - acoustic drum set frozen in time. At the core of the DMX are 11, 8 bit PCM acoustic drum samples that have been companded (compressed and expanded) to increase their dynamic range, making the sound quality approximately 12 bit in the analog domain.
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