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I'm new at reggae, which is way more complicated than just One Drop, it's all about the feel and what you leave out."Don't pollute the groove". I used one of my Supras with the house Remo kit on this regae'ish tune for a session at ABC engineer Tim Daileys Studio: Ĭlick to 's always interesting to me to trace the origins of modern mainstream practices.perhaps the piccolo/popcorn snare came from funk?.not sure where the name popcorn came from.I read recently that one of the main reggae drummers used to crank his snare and turn the snares off.kind of a super tight timbale kind of ied it last night.I really liked the rimshots that way.I use wood rims, the boss preferred the snare on, however.he's more rockish than trad

Carlton almost always left the snare wires of the drum disengaged, making the drum sound very similar to a timbale. The metal construction of the drum, in combination with the extremely high head tension that Carlton preferred, produced a loud, cutting "crack" sound that was a very prominent element of the Wailers' recordings. Carlton used Ludwig drums, and his snare was the popular Supraphonic model, which is made of "ludalloy", an aluminium alloy. However, it was Carlton's snare drum which was perhaps the biggest part of his signature sound.

I saw Carlton 2xs with Bob Marley including one of his last shows at MSG in NY, and he was using a Ludwig Supraphonic cranked up, with what I assume was a single ply ambassador ?įrom Wiki: Each tom-tom had only one drumhead, which gave the drums a dry sound that was ideal for the close-miked environment of the recording studio. Click to expand.Got to disagree with this Steve.