I learn something totally new and challenging on websites I stumbleupon on a daily basis.It’s a pity you don’t have a donate button! Experiment with the angle of this mic for big differences in sound. Johns produced and/or engineered with such artists as In 1969, Led Zeppelin paid tribute to Johns by including a photo of actress In the 1960s, while associated with the UK rock band In 2011, after a couple of decades spent largely away from production, Johns produced and engineered Johns and Eric Clapton collaborated once again for Clapton's 2016 release Johns developed a unique approach to the recording of drums, often referred to as the "Glyn Johns Method".The key to the method is to keep both the overhead mic and the side-mic equidistant from, and pointed at, the centre of the snare, aimed in such a way that a triangular pattern is formed, with the three corners being the snare, the side-mic, and the overhead mic.Johns prefers not to close-mike the individual drums, but will occasionally spot mike the snare drum.
I engineered and produced a rapper who bought his music/beats from a guy who wanted “producer” credits. The SM57 is good at rejecting sound from behind. One of my favorite records of all time.the distance of the mics from the snare could be some BS in practice but, if you’ve ever experimented with two mics and play with there distance from a source, you will hear very distinct comb filtering. ThanksPanned left and right is what he means. It’s called the Glyn Johns method, and it's a favorite of recording engineers everywhere trying to get professional results on a tight budget. ... Keith’s method of writing was very laboured, and done in the studio. He pushes me rather than sticking just with a basic pattern, will add in flares to test me. 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. The mic above the center is panned 50% to one side, and the one above the floor tom is panned hard to the other side. I once read that the famous ‘Levee break” was done in a staircase. I skipped it primarily because it is not a stereo overhead technique — it’s a 4-mic approach for the whole drum kit. . I read Mick Jones resented some of his guitar tracks being taken out by Mr. Johns, and ‘Rat Patrol from Fort Bragg’ turned into ‘Combat Rock’ and was a huge success.He also produced ‘The Ghost of Cain’ by New Model Army. Then, without losing your loop spot on the cable, swing it over to the 2nd overhead and make sure the grille lines up. There are several interpretations of it, however the principal remains the same. I’d without a doubtfantastic issues altogether, you simply won a logo new reader.If you have a quick search for “John Bonham in the studio” you can see his mic set up for some of the tracks recorded for Led Zep 2:He appears to be recording in the studio corner, close mic on bass drum, small mic near 14″ tom, small overhead condenser down on the his right pointed slightly away from floor tom and another overhead very low down almost between his small crash and tom.As far as my detective work goes, he used lots of different set up to achieve the required sound so just goes to show that a bit of experimentation is key, but the 2 equidistant split level overheads are a good start point.I’ve just ordered 2 Rode NT1-A’s Large Diaphragm Condensers to try out over Christmas to replace my AKG C1000’s that were too sharp and shallow. In comparison, on a previous attempt I placed the microphone inside the hole and it sounded lousy. I also have a 57 on the snare, and a D112 on the Kik.You have to try both and decide. The mic setup was intentional but Glyn moved the Tom mic to record Jimmy s guitar, which he panned left. Each of these microphones should be about 1 metre For additional control over the low end, I used an AKG D112 MKII on the bass drum. It requires you to pick apart your piece, play every little segment over and over, dissect it, tinker with it, cry over it, feel completely lame about it, then get over yourself and start practicing again. I just stumbled upon yourThis is cool but could you do this for a Rap/Hip Hop band, such as the Roots, where the Kick Snare, and Hats are very important?I’ve been trying this for the last few weeks with a large diaphragm (side) and a pencil mic (centre), plus a snare mic. Record drums using Spire Studio’s microphone and Grace Design preamps (Glyn Johns method) As mentioned in the link above, this method has resulted in some of the most iconic drum sounds in music history. Any words of wisdom? The sound is obviously many things. I was using the Recordman method for about 2 years, until I read about and tried the Glyn Jojns method a few months ago. So I assume the same principle applies if you are using a mic. Thanks for sharing. TIA.What he was saying was that he likes the sound ( on a good console )Ahh. I’d like to find out more details.Terrific post however , I was wanting to know if you could write a litte more on this topic?It’s nearly impossible to find well-informed people about thisI loved as much as you’ll receive carried out right here.The sketch is attractive, your authored material stylish.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.Nice post. I would highlyI have been seeing Richard at Leicester drum school for several years and has taken me from complete beginner to taking my grade 5 soon. I am looking forward to trying this out. What about Glyn Johns?! The key to getting this mic in phase with your first overhead mic is to With your overheads sounding good, things get simple. The biggest thing with that mic is to look across to the snare and hi hat. Everything else was close miked. Love his emphasis on simplicity, letting the drummer play, etc. Am I right?Yes, I’ve used the C01 on drum overheads a lot, especially live. Place it where you get that fullness and attack that you want to compliment your first two mics. I’m currently working on the f# minor nocturne!
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