Learn how to make the most out of Chord and capture different structures to spark new ideas. Glyn came up with a unique drum recording technique known today as the Glyn Johns method. Biography Early history. Adding more mics can lead to more bleed between tracks, which can be both a good or bad effect, depending on the sound you want. From left to right these are my levels for panning the kit: The overhead mic is technically placed in the center of the kit, but pushing it to the left helped to widen the stereo spread of the cymbals. For the kick and snare I kept an 8:1 ratio, but the toms I did the classic “all in” to get a little extra crunch. Below is a sample of the reverb bus all on its own for each section of the song. The Glyn Johns method is a simple drum kit mic’ing technique using 3 or 4 mics, as heard on albums by The Rolling Stones, The Who and Led Zeppelin. In this blog post, I will walk you through the more traditional Glyn Johns method first, eventually adding some mics, and then walking you through our mixing process. admittedly not-so-well organised thoughts from Charles of EOW Audio On toms I tried to boost right around 100 and 250 Hz to get the fundemental note, and also around 2.5K to bring out the attack and definition. We take a look inside the Spanish techno artists humble abode. While this is a departure from the typical Glyn Johns technique, we decided to try adding some tom mics into the mix next. For this, we placed the mic about 6 feet away, 4 feet off the ground and facing the center of the kit. You can always unsubscribe (so you won't receive any more e-mails) by clicking on the unsubscribe link at the bottom of each e-mail. The Glyn Johns method uses two microphones to capture the bulk of the drum kit, and often times an added kick and snare mic for a little more emphasis and clarity. It really helps to glue the whole kit together and tame any transients that may still be sticking out. AP Photo of Glyn Johns at home on November 5 2014. Sarah Schachner and Jesper Kyd on how they mixed modern techniques with ancient instruments for Assassin’s Creed Valhalla. This song in particular has some pounding tom fills throughout, and these mics help to add a little more punch. This helps to add some warmth and saturation to the drums as a whole. This is achieved by placing one mic directly over the center of the kick, and one off to the side of the floor tom. He worked on records with legends like Eric Clapton, Led Zeppelin, The Rolling Stones, and even the Beatles. By checking the boxes you agree to receive the following from us via e-mail. This is a discography of records (primarily albums) produced, engineered, and/or mixed by Glyn Johns for various acts. Again, ALWAYS CHECK THE PHASE RELATIONSHIPS BETWEEN MICS! Since the other tracks (guitar, bass, and keys) have yet to be recorded, this is far from a final mix, but we wanted to get an idea of how the finished drums might sound. I have really come to love this reverb and it works well with the drums. As I stated earlier, for the room mic I used some heavy compression from the Distressor, and an EQ bump around 100 Hz and 3K. Though Johns is best known for his work as an engineer and producer for other artists, he recorded several singles as a solo act in the 1960s. Some engineers measure the distance precisely and pan the mics extreme left and right, while Johns himself used a more instinctive approach with a narrower stereo spread. A third mic is used on the bass drum and sometimes a fourth is used as a spot mic on the snare drum. We used a Shure SM-57 on the snare, and an AKG D112 inside the kick. Achieve great drum tracks with a single mic | Read». Both mics are using the Clarett’s onboard preamps and utilizing the “air” circuitry. There’s no wrong way to do it, but you typically want to create a stereo image that matches the layout of the kit. The most common additions to the overhead mics are separate mics for kick and snare. This tends to be one of my go-to compressors for both drums and guitar. Always be sure to check for phase issues! These new cans, courtesy of German manufacturer HEDD, might just represent a more forensic way to monitor our mixes. The idea is to create a full stereo image of the kit with the overhead and side mics. Again, always check for phase issues. With our easy monthly payment plans, you can get the music gear you need today -- and split the cost into monthly installments on your existing credit card. Though the world of professional DJ’ing is facing heavy strain right now with the closure of clubs, this latest, feature-packed CDJ aims be the centre of the party for the next decade. Glyn came up with a unique drum recording technique known today as the Glyn Johns method. Dive into wavetable synthesis by creating lush chords and heavy bass. Start with two ‘overhead’ mics, preferably good quality condensers with a cardioid polar pattern. For reverb I opted to use the UAD Capitol Chambers Plug In. The key to nailing the Glyn Johns method is getting a great stereo image of the kit. No need to mic everything. We round up some of our favourite sites for fresh, inspiring samples. It’s the most wonderful time of the year for your plug-in folder. And the kick was the only thing I did not send to the reverb bus. While experimenting with additional mics in this setup, we tried out both the hi-hat and the snare bottom mic.