mixing glyn johns drums

Whoops, I forgot to say that the top mic is pointed directly down to the center of the kick *batter head*. in the near future. I’ll be sure to post an example in context when this gets mixed, right now it’s not done yet. Generally, I feel that the recordings have a nice crisp and very (a)live sound with still a lot of options in the mix. Also, for the comment prior to that, I get the feeling your understanding of the roles of an “engineer” and “producer” are hazy at best, Jimmy Page did indeed produce the albums in question, and had a pretty good idea of how to work in the studio from his days as a session musician. The Glyn Johns technique uses four microphones – two ‘overhead’ mics, a mic in the kick drum and one on the snare drum. Thanks. One more thing: The set I normally record my drums with is more like the graphic used at the top of this article (2 toms instead of one & 1 splash plus a ride). It’s a pity you don’t have a donate button! This is pretty close to how Glyn did it. An extended version of this technique that I use often is to position the 2nd overhead equidistant to the snare AND kick.. After getting the main overhead sounding good, take a mic cable & hold one end to the center of the snare and bring it up to the grille of the main overhead, then loop the excess cable back to the kick beater.. you can use the beater to hold the 2nd cable end for convenience. I have a Behringer B2 and was wondering if it made a difference if I used a figure 8 pattern. It was never so easy to get a beautiful sound – and vibe – from drums. 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? I have been doing our live mix with this group for about 3 years. The sketch is attractive, your authored material stylish. 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 ! I’d rather focus on song writing and bringing Rockand Roll back in a huge way. You’ll want the mics as close to the drums as you can to avoid other stage noises like vocals, guitar amps, and the PA from bleeding into the mics. They are very important for begginers like me. Mics used were Kel HM-1s for overheads, a Kel HM-2d outside the kick, and a Shure SM-57 over the snare. 11? Question: when you say overhead mics “panned”, do you mean panned opposite (left/right) or panned to center? I also have a true shure sm57, and a G.P.A. Thanks for the help! Definitely trying this out on the next recording. someone with a bit of originality! I engineered and produced a rapper who bought his music/beats from a guy who wanted “producer” credits. Been loving this site, Graham. This is just a raw bounce out of Pro Tools. Glyn Johns recommmends not hard panning the drums – but putting them just off centre. This has to happen because you are combining an identical wave at different times. Thank you so much, and congratulations for your awesome work with hints, lessons and posts. You can always compensate for offending frequencies by tweaking the placement and EQ after the fact if need be. Johns helped nail Jimmy Page's 12-string sound on Stairway To Heaven "We tracked it with drums and acoustic guitar and John Paul was playing an upright Hohner piano. The mono OH up top should pick up the hi toms just fine. by chance (stumbleupon). Some of the best drum recordings are made with simple techniques like this. If we want to get more precise about it, the overheads should be between 40 and 60 inches from the center of the snare. I dis a session and they only had 1 OH sampson C01. I love the simplicity. There are several interpretations of it, however the principal remains the same. thanks Jim. 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. the following. Very good information. This gives it a little balance without taking it too far to the right. You should hear the crack of the snare in the center, cymbals all around, and toms punchy and clear. This is great for softer rock or blues. ”. With this method, four microphones, placed strategically, can give a spectacular sound when recording drums. If you saw last week’s post on makeshift acoustic treatment then you may have noticed the positioning of my drum overhead mics. (Sorry for my bad English. I’ve been trying this for the last few weeks with a large diaphragm (side) and a pencil mic (centre), plus a snare mic. Jim Ash answered the main part (what did he say), but let me add a thought on the “why”. Remember,  you already will have the kick and the snare in your overhead mics to some degree so these two close mics should bring what is missing from that initial sound. I am moderately sure I’ll learn plenty of new stuff proper here! I honestly appreciate individuals like you! I’m composing one last song for the band’s latest project. Yes, I’ve used the C01 on drum overheads a lot, especially live. If you fail a chemistry test, it’s because you either didn’t study enough, or just aren’t that good at chemistry (the latter of which is totally understandable). First I liked the reference “Rinse and repeat” good early morning chuckle. Love his emphasis on simplicity, letting the drummer play, etc. Either works great! 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? I’d without a doubt The effect was so strong. Great post, Graham – drums sound great! All that said, the job of a producer (or receiving producer credits therein) can range anywhere from some guy saying “no that sounds bad, yes that sounds good. website, I truly appreciate your way of writing a blog. Hi Graham .. What do you think of using this technique for a live show? Mr. Johns' technique involves only four microphones. The key would be two fold: making sure both the over head mic and the side mic are the same distance from the snare (so THEY are in phase with each other).

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