Enjoy! Yes, Glynn Johns had some very nice tube microphones at his disposal when working with Led Zepplin. It can only get better! I’ve even it seen using three but for today, we’ll use four. ...should add that the C12s, I have access to, are the VR's. Oh and there's also a protective case included and a 5 year warranty too! Not to be picky but the GJ thing is actually 3 mics. You want to concentrate your energy on making music. It's the only mic I've found that actually picks up the kick drum in a useful and meaningful way. I will add that at least the room does not sound overly 'boxy'. The general character of the mic and frequency emphasis make more sense for cymbals and drums. The ceilings are only around 3 meters (10 feet), but has some nicely working clouds above the drum area. 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. I totally understand that it's the player and the room and then the kit and tuning but let's assume those will be taken care of. Affordable LDC Microphone With Multiple Voicings. Here are the individual files for some criticism. Beyer MC840 Condenser as OH 2. U47 will give you what you are looking for. But of course given the futility of describing sounds to another person sounds 4038s may be exactly what you are after. You can add mics as you see fit - room, toms, hi-hats, etc. I'd rather have the vintage U87's than the U47's for drum overheads. AKG C12 or AKG C12VR, which sounds better? the image is odd, too. I'll probably get slated for this, but I almost always grab a matched pair of AKG C414's (if available) when I do the Glyn John method, I, like yourself, like my drums fat and less toppy, the 414's just seem to do the job for me nicely. On the description you are giving I'd be starting by putting up a pair of AEA R84s. Hey monkeyx Thank you for that. They have a great bottom end in them and a little sizzle that I tame by using a darker mic pre. I've done glyn johns and "recorderman" a lot which are pretty similar. SHURE SM58 DYNAMIC MICROPHONE … Compared to the ribbon mics? Hey there! One thing I do with this is use my figure 8 ribbons when I have a good sounding open room and I want the natural space. Right now I'm looking at three mics… Microphones recommended for the Glyn Johns Technique. But those types of mics are very expensive, which makes them an impractical choice for most of us. If you like it, I'll describe what it is and how it is done. These two mics should be equidistant from the centre of the snare drum and panned. One of the innovations in drum mic’ing came from him and is called the Glyn Johns technique. Kick Out - vintage U87 6. I'll probably get slated for this, but I almost always grab a matched pair of AKG C414's (if available) when I do the Glyn John method, I, like yourself, like my drums fat and less toppy, the 414's just seem to do the job for me nicely. Well, the GJ thing generally starts with 4 mics: up, out, kick, and snare. This means you can record in stereo or mic up a whole drum kit Glyn Johns style! Mic choice would depend on the kit, player and the room. I use a matched pair of Coles 4038s ( AKG 414s for a brighter sound ). Did we also mention that you get three mics? Microphone Selection. When you buy products through links across our site, we may earn an affiliate commission. Probably a widely discussed topic but perhaps some newer choices? Note: it only sounds good if you have a good sounding room and a good drummer. Here’s the setup: One mic … 2. I've always loved the Glyn Johns setup and it fits the sound we want, and I'm looking at buying some budget quality mics for it (always believed in quality>quantity). I think you need more of the close mics and way more kick. Just use whatever mics you have (a pair of same models preferably) and keep at it! This technique involves four microphones – two overhead microphones,a kick mic, and a snare mic. . Here is another set up. sounds fine to me, except the kick is being played way too softly and maybe too much hat. If anyone wants to try doing a balance/mix of these to experiment, i'd appreciate it. first of all the snare close mic is clipping very badly, that needs to be addressed during tracking. This drum kit was tracked in the foyer of a house using the traditional Glyn Johns method. I'll be back in 15 minutes or so with an audio sample of a 3 microphone drum recording. The Glyn Johns technique uses only FOUR microphones for capturing a full drum kit. Lovely tonally and smooth. When you buy products through links across our site, we may earn an affiliate commission. I think that way you can pick your rentals based on what you are specifically looking for in a mic set. Mics used are the following: there are some mixing (balance) issues with these clips. There is NO best.That said I'm sure everyone will have a their hit list of what could do the job. When I worked with Glyn we used a pair of Tele 251's. OK, now this sounds a little stark on it's own, a little better with some compression on it (as described) and with a little low end shelf boost, slight cut @ 500 and slight boost on a 5k shelf, it works very well with acoustic bass and 2 acoustic guitars and vocals. Thanks. The first mic should be placed around 4 feet (122cm) above the kit, pointing to the centre of the snare drum. The main drum sound comes from the Coles, the other mics are just fill-in. They have a great bottom end in them and a little sizzle that I tame by using a darker mic pre. The even harmonics come straight up off the cymbals and the odd harmonics come off at an angle, so in-between is the sweet spot. SM7 on Hi-Hat 4. The toms are EV N/D468s straight into the Toft preamps. These are run through a pair of UA 710s and 1176s with a slow attack and fast release to gently tame the transients. The snare is a 57, the kick a D112, both through a Drawmer DL241 same settings. I would say try your TLMs to get an idea if you haven't already and think about what you feel they are lacking. While I'm a big fan of the Coles as you havent used the word 'punchy' I wouldnt be starting there. I agree with Richard Salino on all points. I'm guessing you know this. 3. Hey there! Just a friendly reminder that political discussion, (including "offhand" and 'sideways' commenting) is. ..and fun. I've used SDC and LDC both with good results, depends on what you want. Kick MD421 (its a 22" kick) 5. U87's and 47's also rock but its whatever you have available and what your taste dictates, to be honest though, in my opinion, if its done correctly the G.J setup sounds awesome whatever mic your using! I think I understand what you're looking for. U47's sound excellent on drums both as overhead and when using Glyn Johns. The hi-hat is overbearing. And yes, definitely tune those drums. Snare - CAD VX2 LDC One is directly over the snare about two sticks up, the other is over the floor tom at a 45 degree angle from the first, also two sticks away from the center of the snare head, for phase. What would/could be the downside with the M49s? The Glyn Johns technique is something that take a bit of practice to get right. Mics used were Kel HM-1s for overheads, a Kel HM-2d outside the kick, and a Shure SM-57 over the snare. The second mic is placed adjacent to the floor tom tom, around 6 inches (15cm) above its rim, firing across the kit towards the hi-hat. Finding a good spot for the drums in the room, the acoustics, drum tuning and playing, because you have so little room to cheat after the recoding, it has to be done right. After it's tracked, if more punch is needed, I'll double the Kick and Snare tracks and add parallel compression. I've gotten drum sounds with that mic as OH and nothing else. for a tight rock n roll vibe with mellow high end dont overlook the Beyer M160's up above! According to how you describe the sound your going for, the m49s are a no brainer. I'd suggest trying the AEA R88 stereo mic. The first dynamic microphone … I use two Audio Technica 4050s in a Gly Johns setup with some success. For this tutorial we suggest these microphones. Quote: 1. Use the best mics you've got. AKG C12VR on Right next to FT at equal distance to snare as #Beyer 3. (The main differences between these two mics are; the NT2000 has an adjustable polar pattern – cardioid, figure-8, omnidirectional. I had a drummer friend drop by today and we just messed around with the set up. Would you recommend a paid of LDC's and strictly no SDC pairs or Ribbons? I always tend to mic the kick and snare and have a mono room usually a few foot infront of the kit (depending on the room). the drums are soft and dark and sound far away. Very appealing sound. Kick: AKG D112 Snare: Sm57 Overheads: 2 Beyerdynamic M160 ribbon microphones. If you're going to be really fussy about it you could use the same mic in all positions. This helps with the presence and attack that can be lacking from the 414's.

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