Note: it only sounds good if you have a good sounding room and a good drummer. Required fields are marked *. Beta 52 on the kik beater head, SM7 on the resonant head. For the ‘overhead’ mics in this setup, I recommend a large diaphragm condenser microphone like the Rode NT1000, or if your budget stretches a bit further the Rode NT2000 is an excellent choice. Good luck. The method starts with taking your first overhead mic and placing it about 3 to 4 feet directly above the snare (or middle of the kit). It will explore 2-mic setups, 3- and 4-mic setups, and close mic techniques to ensure that your drums are captured as they sound. You can use a piece of twine to make sure each mic is equal distance from the kick beater point and the snare head. 57 on the snare and a U 47 as a room mic slammed thru an 1176. Position Your Overheads. I have limited inputs, and I can’t seem to get enough toms in my mix. I use spaced pair overheads. Overheads: 2 Beyerdynamic M160 ribbon microphones, Note: you’ll need a tape measure for this exercise. I have a couple Royer 121s, would those work well for the overhead and side? Below is a picture representing how this should roughly look from the front of the drum kit. Or get a … I’m new to this technique. I have never cared for CAD mic's, and the small diaphragm on the NT5 isn't optimal for a two mic setup. Brooke_Hogan. It should be pointing down at the kit. For this tutorial we suggest these microphones. These two mics should be equidistant from the centre of the snare drum and panned. I recently did a session with a similar set up to what you're asking about. But his brother Andy is also (or maybe only) credited with recording that song. Your email address will not be published. Kick: AKG D112 Johns worked with some of the most adored performers of the 60’s, 70’s and 80’s including The Who, The Beatles, The Rolling Stones, Led Zeppelin and Bob Dylan. 4 Weeks Ago #3354. The unique positioning of the overhead mics is what makes this technique interesting and effective. Position your snare and Kick mics. Whether it’s Glyn Johns, Recorderman, or any other combination of close and room mic techniques, I want to make sure that you have the information that I needed decades ago. These positions are a matter of personal preference. The first mic should be placed around 4 feet (122cm) above the kit, pointing to the centre of the snare drum. Snare: Sm57 Your email address will not be published. Glyn Johns Mic Setup There should be quite a few other sources on the 'net. I'm using my home-modded Oktava 319's for the setup with a 421 in the Kick and a non-oktava russian SDC as the room mic, squashed with a … And what if we cannot afford 2 Beyerdynamic M160. Glyn Johns is a famous recording engineer. The Glyn Johns 3 mic drum setup (sometimes with 4 mics) on Led Zeppelin's "When The Levee Breaks" is Internet audio folklore. View Profile View Forum Posts View Articles New Member Join Date Oct 2020 Posts 1 Thanks 0 Thanked 0 Times in 0 Posts Rep Power 0. Let’s mic the drums. Recording came out great! The Glyn Johns technique uses four microphones – two ‘overhead’ mics, a mic in the kick drum and one on the snare drum. This gives a depth and stereo image to the overall kit. Record a little bit and listen back to that one mic. This technique involves four microphones – two overhead microphones,a kick mic, and a snare mic. Recording drums with the Glyn Johns method is like focusing on the drums from three different points of view. The engineer on that track, Andy Johns, brother of Engineer Glyn Johns, is greatly responsible for this definitive Bonham sound. This … This technique involves four microphones – two overhead microphones,a kick mic, and a snare mic. Then, take your overhead mics, and pan the one above the snare halfway to the right. Position the second overhead mic’s diaphragm towards the high-hat, over the tops of the floor tom and snare drum. I just used two condensers I had for the overheads and a couple other mics for the kick and snare that I have from a drum mic kit I purchased from shure. The key to nailing the Glyn Johns method is getting a great stereo image of the kit. Here’s the setup: One mic directly over the kit, about 40 inches high, and looking directly down at the snare drum. Are there other good choices? Getting Your Priorities In Order Position the first overhead mic 40-60 inches from dead-center of the focal point of the kit (e.g snare drum), facing directly downward to the kick drum pedal. 414 over snare, U 195 to the side in a Glyn Johns set up. The microphone will be positioned facing the drummer on his right side. The floor tom mic is somewhere between a glyn johns and recorderman position and it's getting an awesome balance of air, image and ballsy floor tom sound. While in a large house, Johns recorded Bonham with two M160 double-ribbon microphones placed approximately halfway up a stairwell in the foyer, compressed to all hell, and affected with a Binson Echorec delay. If you want to change perspective assign left and right. A second mic at the 3 o’clock position to the floor tom (drummer’s perspective), about 1 or 2 feet above the rim of the tom, looking across the kit to the hi-hat, and 40 inches from the snare drum.
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