glyn johns method phase

Have you ever used the Glyn John’s method of recording drums? I’ve played around with top and bottom microphones on the snare a few times, as well as an inside and outside kick microphone, but it can start to get messy, and is usually not needed with a great drummer with a great sounding kit that’s been properly tuned for the room. Set it up over their right shoulder, pointing down at the snare. I was recording a standard drum kit and loved the huge body of the toms and natural sounding cymbals when micing this way. ( Log Out /  Glyn Johns is most famous for his method of recording drums. Glyn Johns’ work with Led Zeppelin, The Who, The Rolling Stones, The Beatles (although additional mics can be seen in Abbey Road studio sessions), The Eagles and many, many more gave us a simple-yet-great-sounding way of capturing the whole kit, with an even balance and practically foolproof phase coherency. Depending on the room and the song, I may or may not use the room microphones. Often I’ll use a spaced pair of overhead microphones, and in my studio I have a string that I use to measure the distance from the snare drum to make sure the two overheads are in phase with each over with respect to the snare. Whenever I have tried this the snare no doubt is completely in phase … I suppose that’s splitting hairs a bit., or, you can purchase and download loop packs on one of my other sites: ‘The Glyn Johns Drum Recording Method | The Recording Revolution’. At some point in the near future, I’ll be putting a lot more drum loop packs up on As long as I can remember I have been a fan of early rock ’n’ roll, Elvis in particular. 22nd Nov. 2015. Here’s how the technique sounds with no compression. This technique usually employs three microphones: One hoisted several feet overhead to achieve natural perspective of the entire drum kit; One off to the side not far from the floor tom tom; One near to the bass drum This field is for validation purposes and should be left unchanged. Dazu gehören Künstler wie Eric Clapton, The Rolling Stones, The Who, Steve Miller und The Eagles, um nur einige zu nennen. These were then recorded to individual mono tracks. Reference: The brief was ‘country crunk’ a kinda cross between country and hip-hop, so we wanted some straight country grooves and some more swung laidback beats using brushes and hot rods. Keeping your overhead mics in phase is the ticket to a great drum sound. Change ), You are commenting using your Twitter account. ... For this method to work, you have to be very careful about phase. ... or you’ll encounter phase problems. I hadn’t used this technique before and couldn’t wait to get in the studio to try it out. I have also tried using an X-Y position of the overheads basically right above the drummers head, in which case you don’t have to worry about phase since they are basically in the same spot. 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.,. Your third microphone should be placed where the air blast from the kick drum dissipates (if there is a hole in the head). If you find this site helpful, please consider leaving a tip/donation to help cover the server costs and encourage me to write more. The Recording Engineer’s Handbook. It’s simple, but you can get a surprisingly full sound with it, considering what you have to work with. The ‘Glyn Johns Method’ is made up of only using 3 microphones and was used by Johns on many different recordings from the 1960’s through to the 1980’s and is still continued to be used by engineers worldwide. Try using the Recorderman method. I have never tried to mike live drums but have read it’s very involved and difficult. N.p., 2011. Of course, once you get to the mixing stage, you usually end up doing compression and EQ to make everything a bit more punchy and to cut through the wall of guitars and other instruments that have been added since you cut the basic tracks.

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