mixing glyn johns drums

And, if you are posting at additional social sites, I would like to follow anything new you have to post. the following. The big picture is that the sound comes from the overheads while the kick and snare mics act as “spot” mics to fatten up those two huge elements of the kit and give you a bit more to mix with. If you saw last week’s post on makeshift acoustic treatment then you may have noticed the positioning of my drum overhead mics. Where the beater meets the head. I look forward to doing this and hearing the difference. Am I right? What may you recommend in regards to your publish that I also have a true shure sm57, and a G.P.A. Sample sounds great, too. You’re so cool! But after almost three years of piano at Orpheus Academy, I understand just how naïve this is. And I do @Dar – The 2nd OH is above and slightly back from the floor tom (and yes that put it slightly underneath the cymbal there). My question: the 2nd overhead towards the rear of the kit (floor tom), approx. This is placed directly over the snare drum to achieve an overall kit sound. Would pointing the mic at the snare from where it’s positioned do anything to help? The Glyn Johns method of miking a drum kit is characterised by its use of relatively few microphones. It’s nearly impossible to find well-informed people about this This gives a depth and stereo image to the overall kit. I am moderately sure I’ll learn plenty of new stuff proper here! It’s just a mono drum track. Great post. Placement of the first overhead mic A few years ago, a good friend and fellow engineer (not to mention a top-notch drummer), Colin Anderson, introduced me to a great technique. I also have a K-Micro Silver Bullet Matched Pair (http://www.karmamics.com/shop/K-Micro-Matched-Pair.html) and tryed to use as OHs but I did not get good results maybe because they have Omni Polar Pattern. One thing for the record. someone with a bit of originality! But today I want to highlight a famous technique for recording big drum sounds with minimal mics (4 to be exact), the Glyn Johns method. Hi! In reply to the smart ass “annuls” comment: You’re correct about johns work on only the first album. thanks Jim. Attractive section of content. I’m not really sure how to solve it other than flipping polarity. Between your wit and your videos, I was almost moved it’s just one of those magic things, like the “AMEN” break. (Paraphrased from his much more blunt expression of how cavalier his method is) And obviously, both “overheads” are still equidistant from the center of the snare, but it should be between 40 and 60 inches. But before you think this is nothing special, you have to realize that the way these two “overhead” mics work together is very unusual and is part of what makes the Glyn Johns method so interesting. . When we think of professional drums being recorded in a studio our mind usually draws up images of complex mic techniques utilizing anywhere from 8 to 12 (or more) microphones. The pencil mic’s above the centre of the kit pointing down, rather than above the snare. Then the snare mic (that you are using) would potentially need to be flipped or simply shifted in time to line up with the overhead mics. I did a session with Steve Smith ( Journey) one time, and set up his huge kit like this…he thought I was nuts until he came in and listened to it…then his reaction was ” Man,I gotta play some Led Zepplin!” He went into the studio and played Black Dog ( by himself) …it sounded awesome. Please visit my website too and tell me your opinion. Nice post! Your email address will not be published. Really.. many thanks for starting this up. Take your second overhead mic and place it just to the right of  your floor tom, maybe 6 inches above the rim and facing across the the tom towards the snare and hi hat. ブランド コピーサングラス レイバン アルマーニ バーバリー シャネル 3000点新作 ! This microphone will be positioned to the drummer's right-hand side, with the microphone diaphragm pointing towards the high-hat, over the tops of the floor tom and snare drum. What materials do you have against the wall (on the high-hat side) for acoustical treatment? Most gigs we have gone with Kick,Snare & HiHat and get some very nice 2-track recording out in the audience area. The drums come in later because it's a 'building song', innit! Is there any huge problem using the LD as top side mic and the small one placed close the floor tom? I do not think I have read a single thing like this Really no matter if someone doesn’t understand after that its up to other viewers that But when it works, it is truly awesome! The sound is obviously many things. Experiment with the angle of this mic for big differences in sound. I'd never even seen one before or since. I have a SURE KSM32 LDC and another mic SDC. You most certainly know how to keep a reader You can always compensate for offending frequencies by tweaking the placement and EQ after the fact if need be. Do you have preferance? It was truely natural flanging, and very good quality stereo flanging at that. – Shure PG-52 in base-drum port Nice post. Next, pan your other overhead mic — the one near the floor tom — to the far left. In your example, the hat and ride seemed a bit overpowering. So nice to find someone with a few genuine thoughts I also have that side of the drums up against my wall…more because of space reasons, but do you find a benefit with this drum placement? Mr. Johns' Method only uses two spot mics — one kick drum mic and one snare mic. Grab your kick mic and place it close to the resonant head or inside the drum. It’s going to be ending of mine day, except before ending I am reading this enormous piece of writing to increase my know-how. I want the vocals on a C12, into the LA2A, and the drum overheads into the 1176’s. As my goal is record a live rock band (2 guitars – SM57 and SM58 + bass – DI + vocal – MXL ribbon fig 8 + drums) do you have any suggestion to have those mic used in my drum kit or even for other situation? Using this technique, you'll find that you get an open, natural drum sound, but having a great drummer (with a high-quality kit and great technique) is an absolute must, as are high-quality microphones. Jim Ash answered the main part (what did he say), but let me add a thought on the “why”. with the most up-to-date information posted here. Now, take your second overhead microphone. I’ll be testing it out real soon! Yes, I’ve used the C01 on drum overheads a lot, especially live. Happy Birthday Graham – hope you have a cracking day in the studio! I look forward to fresh updates and will share this blog with This drum miking technique uses one overhead mic, several feet above the center of the kick, and another mic off to the side near the floor tom. And yes three mics is perfectly fine to capture a drum kit. He really made a name for himself in the annuls of recording legend with his monstrous John Bonham drum sounds on all those Zeppelin records. That’s where the final two spot mics come into play. I am looking forward to trying this out. Recording drum sounds is no easy matter. The key to getting this mic in phase with your first overhead mic is to make sure that the grill of the micrphone is exactly the same distance from the center of the snare as the first overhead mic. Basically, the microphone will be positioned facing the drummer on his right side.

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