With careful placement, minimal mixing is required to get a really great result. Experiment with the angle of this mic for big differences in sound. I've also used over my AKG 414 when I want a more vintage vocal sound, and to round out some mid-heavy voices. What you will however lack is some obvious low end punch to the kick and some fatness to the snare. He really made a name for himself in the annuls of recording legend with his monstrous John Bonham drum sounds on all those Zeppelin records. I did The Easybeats debut album but it never got released, followed by The Steve Miller Band’s Children Of The Future, and then this - I did that and Sailor in the same year.“I’d already engineered The Beatles, The Rolling Stones, and more. If the cymbals are too abrasive, move the mic up a bit more. Very happy with all the results in the various applications. The snare mic’s been having some phase issues. I have used them for drum overheads, room mics (xy), acoustic guitar and grand piano and they have performed very well on each. Take your second overhead mic and place it just to the right of your floor tom, maybe 6 inches above the rim and facing across the the tom towards the snare and hi hat. But before you think this is nothing special, you have to realize that the way these two “overhead” mics work together is very unusual and is part of what makes the Glyn Johns method so interesting. You want to hear a nice blend of snare, toms, and cymbals all in one mic. With careful placement, minimal mixing is required to get a really great result. It's absolutely spot on if you want to get a more vintage sound, or take some of the really bright overtones out of your cymbals and make them gentler. n, and the stereo ribbon mic. Place it where you get that fullness and attack that you want to compliment your first two mics. I've since used them as overheads on drums for a Jazz CD and for voices in a church for a requiem along with a stereo mic. Hi Hugh, this was the first gig I did with the Nude Mics. These mics don't have the usual harsh high mids or rough top of the usual SDCs you'll get for the same price. pecifically all you need for this method are 2 overhead mics (ideally large diaphragm condensers), one kick mic (dynamic or condenser), and one snare mic (usually a dynamic). It's absolutely spot on if you want to get a more vintage sound, or take some of the really bright overtones out of your cymbals and make them gentler. He really made a name for himself in the annuls of recording legend with his monstrous John Bonham drum sounds on all those Zeppelin records. Remember, you already will have the kick and the snare in your overhead mics to some degree so these two close mics should bring what is missing from that initial sound. You’re at the best WordPress.com site ever. As for the SDC pair, don't be fooled by the price!!! The big picture is that the sound comes from the overheads while the kick and snare mics act as “spot” mics to fatten up those two huge elements of the kit and give you a bit more to mix with. Legendary producer/engineer Glyn Johns’ autobiography Sound Man is filled with cool stories about creating classic albums with The Beatles, The Rolling Stones, Led Zeppelin, The Who, Jimi Hendrix, Bob Dylan, The Clash, Rod Stewart, Eric Clapton, The Eagles, Neil Young, The Steve Miller Band and many, many more. That’s where the final two spot mics come into play. We had six weeks to make the record and after a month they’d not achieved anything, just dicked around, and I’d got really bored. If you have two different mics, you can even use the differences to your advantage - for example, putting the darker sounding mic closer to the hat and putting the brighter mic by the floor tom. Rinse and repeat. Was very happy with the piano sound that I achieved with very minimal messing around. With careful placement, minimal mixing is required to get a really great result. Adjust these two mics to taste to round out your drum sound. Then with your drummer still holding his end firmly to the snare, swing the cable over to the second mic and make sure that mic is lined up with where you are pinching it. soundman. And the kicker…he only used 4 microphones to do it! 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). I got a Large diaphragm condenser for Christmas and I was wondering when recording drums, would it be better to just use 2 matched pencil condensers as overheads, or use of pencil … As you can see this “overhead” mic isn’t overhead at all, rather it is a side fill mic capturing the kit from a different perspective. Grab your kick mic and place it close to the resonant head or inside the drum. The two "overheads" in Glyn Johns are picking up very different pictures of the kit. Once you have a good balance of the kit with your first mic, things get a bit interesting. I've been blown away by all of them! “That was my third ever production.
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