I love how natural this sounds. It's not so damn processed and it sounds like a real kit. Honestly, as a self engineering musician with not a lot to show, I prefer this mic setup over your recent mixes. Thanks for showing us this, Glenn.
This is perfect for doing black metal, crust, or anything that you'd want more of a stripped-down, raw feeling... like you can actually TELL its a human behind the drums. When I think of something along the lines of Wolverine Blues by Entomed, this is probably the setup i'd use.
I've said it before and I'll say it again, the viewers comments and ranting are all fine and dandy, but this is the kind of stuff that you guys really do a great job with, keeps me coming back.
Hey Glenn! Outstanding video as usual. However I just wish to point out that Glyn says in his book "Sound Man: a Life of Recording Hits" that he doesn't a use a fixed measurement to install the overheads mics, he just make sure both are the same distance form the snare to avoid phase issues, but apart from this there is no rule for him as long as it sounds great. He stated (still in his book) that he never pans the O.H. hard left and right as he feels that doesn't sound like natural drums. Also, he hardly ever uses snare mics. I think it can be heard on Led Zeppelin's Good Times Bad Times on which the Snare is clearly paned on the left. Of course it is important to take into account the fact that the music he recorded was relevant to this style of mic placement and tracking. As you said this doesn't quite fit the requirement of modern metal mixes but this definitely works on classic rock. Thank you for the quality of your content. Cheers from France! [Source: Sound Man, by Glyn Johns, an excellent book that I'd recommend to any audio enthusiasts.]
I've used this on a couple of my rock recordings with great results. I'd just add that its really important for the drummer to play the kit evenly. I used a pair of Rode NT5s, an SM57, and an EV RE-320 on kick. This allowed me to record a 3 piece band live on only 8 tracks! (4 drums, 1 vocal, 1 bass, and 2 mics on the guitar cab).
I love the sound of Glyn Johns because it's closer to the shells and gives you a hifi, more detailed picture of the kit and I just love a condenser perspective of the kit. But I prefer it only as an overheads setup, so I still put all my close mics and rooms and it glues the whole thing. I barely compress my overheads at all, I think they bring back the life to my already compressed close mics and rooms.
I absolutely love this tecnique! At first the drums feel a bit lifeless but once I learned to mix it up with Moses Schneider's Wurst tecnique the drums really began to breathe and move within the mix. With this setup it's EASY to record metal drums on a budget! Great lesson! Cheers from Puerto Rico
I mic differently with four mics, but without tom resoheads seems to help them cut through the mix because there’s more mids involved as a lot of recordings boost bass/treble for everything and have toms low in the mix regardless of mic count; using less mics means you have to play how you want the final product to sound without heavy compression or EQ.
5 years ago this was posted! Well, you guys would be please to know this is still helping people like me, a music production student about to record live drums for the first time. As usual, I'm learning through my mistakes: not prepared enough. Few mics at hand and don't know what setup my drummer is bringing, he says he trusts it. Wish me luck!
This is a great technique for mic'ing up most kits. I've copied the OH tracks and then run a low pass/high pass on them to better EQ the toms and the cymbals separately.
I know this is an old comment, but I just want to ask how splitting the OH to different frequency bands on separate tracks helps the EQ'ing? Is it so that you can better hear what you're doing, when the track only contains the frequencies you're focused on?
Thank you very much for this technique. I tried it and was very very happy with the results. Not to mention the drummer was happy with the sound too. Love your channel and has loads of helpful hints and tricks. Keep up the good work, and again thanks.
this is my main drum recording technique, with a slight mod of using a subwoofer subkick style on the kick in addition to a d112 like you did.. works great, less phase problems
I didn't really enjoy the snare sound (but I guess this is just the mic) but this technic is absolutely great !! I didn't think you'd be able to capture a convincing drum sounds with only 4 mics. Well done.
It doesn't sound as a good tone for metal (in fact it would suck in a metal mix), but I can definitely see that tone in less heavy music. I bet that's how people used to record decades ago :)
My go to technique for overheads, if I need the toms to sound bigger I just add tom mics. Really love how this technique makes the kit sound. Another tip is to try using one of those Apex ribbon mics as the mic over the floor tom, this comes in handy if your drummer has a crash or ride next to the floor tom because the figure 8 pattern of the ribbon rejects cymbal rocking noises from being picked up.
Luuk Meijwaard that dude is a hidden gem. No idea why he doesn't have more subs. Some of his videos are a little lengthy or aren't crazy robust, yeah, but I've learned a TON from that guy. I really like his workflow and attitude of how to incorporate real audio in a digital world.
I've seen this technique used live before. Snare sounds kick butt!! A good drummer with good technique would make this easy go to set-up a shoe in for anything! Sounds killer!
glyn johns actually said he doesnt pan hard left and right with this technique! i believe he says he pans them out about 40 percent l and r! i might be wrong but i seem to remember him saying that!
Great. Thanks for this Glenn. I've been using Glyns method for the past few months and have been having a lot better success with it than a stereo overhead set.
The title is "Heavy Drums with 4 mics" and the closing line is "if your doing Eagles type stuff, sure, your all set". Bahaha. 😋 Great video though! thanks again!
Hey Glenn, I had a few seminars with Chris Tsangarides a few years ago, he compressed the fuck out of the OHs (he always used Glyn Johns), some EQ and he got pretty decent toms, even in a british heavy metal style song.
Hey Glen! First, congratulations on your channel! Keep up the good work. Second, I use this technique to record drums (and I play them also. Yeah I'm a drummer, but I can count to 4, LOL) and I have very nice results. Of course, in the mix I have to emphasize the toms somehow, but that's the fun of it all. Great videos, great tips and jokes too! Cheers from Brazil.
(Currently) I start with basic GJ set up - 2x (modded) Studio Projects C1 overhead (v.close to U87s) & RE20 on kick... M201s on snare top, RFT DM622 on bottom (out of phase - these old East German dynamics can sound great on cabs too), Beyer Soundstar X1s (better than a 421) on toms, M422 on hi-hat. Gives me a lot of flexibility, but I have to keep an eye on the phasing. Took me years of refining my sound with what's in my locker, but I've got some nice compliments recently... though to be honest that's probably the change of drummer!
Super cool. I have to echo what was said about measuring. The video I saved to reference the set up, a student ask Glynn, “do you measure..”. Glynn John says, “No, that’s bullshit”. 🤣. Not trying to bust your balls .. I only point this out because I love that kind of sensibility. I agree with you about metal and toms. I thought I was all in for min mic’s but after trying the basic Glynn John (3 mics), I saw the “need” for a 4th (on the snare). That immediately made me think about toms. And I watched a Rick Beato video where they mic’ed top / bottom toms and then I was no longer all in for min mic’s. I think 4 is great for Rock. CCR type stuff. I am gonna try compression on overheads like you suggested. That makes sense. Thanks for sharing your skills. Much appreciated.
Hi Alvaro Silva. I am not Glenn. Your question cannot be answered easily as live micing is dependent on the room and type of speakers being used. Number of monitors on the floor. Number of vocal mics. How many people in the room. Type of music and lastly ...type of drums and the style of playing the drummer has to offer. Which I’m guessing you’ve experienced by now as your question was asked 2 years ago. Hope you are doing well.
HOLY FUCK! Thanks for the tips on this. Been recording live drums for a few years and never could get a good idea of how to do a setup like this. Sounded great, agree that the toms were a bit lost, but I feel like for a demo, or some rock stuff as you suggested that this would be a great starting point. Big thanks especially for the tape measure tip. Will definitely be using this for future recordings.
Small request, do you have already done a walktrue of your place? If not, will you make one? I'm really interested in the way you manage to use space at a sound and (I guess) ease of use purpose.
Could you do a video explaining more about what makes for a good or a bad sounding room for drum recording? I saw your video about bass traps but I don't see a lot of acoustic panels in this video. I want to get started using this technique but I don't have a professional recording room, just a bigger than average bedroom and can sure put some DIY bass traps (tanks for your video on that) and acoustic foam. Your room does not seem to be too big either and I really like what I hear. Thanks in advance.
Great tip. I could have misinterpreted what I read but the way I read it was that BOTH overheads are supposed to be equal distance from BOTH the center of the snare AND the kick beater to reduce phase problems. Trying to achieve that was kind of a pain in the ass. I ended up scraping the idea because it didn't sound good in the crapy space this band wanted me to record in (and the kit they had was crap). I got BETTER (mind you, not great) results using more close mics and traditional overhead methods.
For people who use the metric system: 40 inches is just above 1 meter (101,6 centimeters to be precise). Awesome naturalistic sound, Glenn! Thanks a lot!
How about the recorderman? It's supposed to be two over heads as well as a kick, one directly above the kick and another over the drummer's back shoulder with each mic to sticks away from the kick? Would that sound the same as that?
What are your ballpark approaches to the EQ/comp on the Roswells? Not looking for anything too specific, just fast/slow attacks/releases, slight midrange dip, etc.
Honestly, the best sounding drums that I have heard on your channel, much more natural than usual. Also, don't play the guitar yourselt, I can tell it's you imediately ;) Great video, by the way!
MrDoboz the way GJ himself explained it in a couple seminar clips, he doesn't even use the snare close mic every tune, and set the OH a little higher at ~45" in a couple seminar clips; he honestly eyeballs it and runs the kick just in front of the head. This doesn't work with every mix, but fits your 3 mic criteria.
The Absent Mind well that applies to any mic situation and goes without saying, good 3 mic shortcut I use for amateur kids doing demos is a mono overhead with close mic on the snare and kick honestly so I can just turn down the cymbal bashing
I mostly record jazz, folk, bluegrass, country, and yes, I use SDCs there. I use the Altec Coke Bottles. I like flatter mics, I find that mics with a lot of HF boost (like the C451) can sound thin in this setup, a flatter mic captures the toms as well. Also when using SDCs it helps if the drummer is lighter on the metal and also hits the toms with some energy.
Helps to have a great kit, well-tuned, with good heads and of course a good player! Interesting technique using one of the overhead down low off to the side. What was the thinking there? Also what mic pres are you using?
Hi Glen, I’ve been using this technique for a while. I am looking at upgrading by getting a few more mic’s. I’m just wondering where I should start next, should I get a snare bottom mic? toms? Do I have to do them all at once? What would be the correct order I should get them in if there is one. Thank you.
I've wondered how this would sound doing this but doing the snare mic on bottom to get some extra heft on it while just letting the overheads pick up the snare top.
Don't know if you answered it but, what if you play metal and use tons heavily, could you put a 5th tom between the toms to get a more descent sound for them?
I don't know if its the monitors I'm using but this drum take sounds way "snappier" than other drum demos that has been done in past Glen. This is a technique I'm adding to my black book of stuff I've learned.
Old comment, but it depends. A matched pair (or at least two mics of the same model) is a safe bet, but you can always experiment and possibly get great results. The drum kit has a lot of elements that sound very different, and they are spread quite widely in the room, so at least with a spaced pair like this, it's possible you can get surprisingly good sound with even two entirely different types of mics!
It would be a matter of taste, or whatever suits the song, but in my opinion SDCs work better on individual sources such as a hi-hat or ride cymbal or in combination with an SM57 for snare drum. Your overheads are there to catch the vibe from the kit as a whole which is a job better suited for large diaphragm condensers.
Would you be able to add mics in, on top of the set up as it is? You mentioned that the toms were a bit weak, so could you aim a mic specifically at the toms to bring them out? Wish I'd known about this technique during school, would have saved so much time and effort
I love how natural this sounds. It's not so damn processed and it sounds like a real kit. Honestly, as a self engineering musician with not a lot to show, I prefer this mic setup over your recent mixes.
Thanks for showing us this, Glenn.
The snare seems very processed to me.
@@scordatura5006 way to much compression, you gotta let the snare breath
The snare sounds gated.....very mich
I do not likebthe snare soubd at all
@@chadc8588 It's because of the dry tuning not because of the processing.
This is perfect for doing black metal, crust, or anything that you'd want more of a stripped-down, raw feeling... like you can actually TELL its a human behind the drums. When I think of something along the lines of Wolverine Blues by Entomed, this is probably the setup i'd use.
yeah I'm gonna do some d-beat with black metal in there and thought the same! seems perfect for a diy-feeling. and much easier to mic up :D
was just thinking about this, kind of like Two Hunters sound too. adding an SM57 in Wurst position could give it some extra core sound if needed
@@blackthornarchive I actually used this technique a few years ago to do a drum cover of Wolverine Blues and it turned out REALLY well!
I've said it before and I'll say it again, the viewers comments and ranting are all fine and dandy, but this is the kind of stuff that you guys really do a great job with, keeps me coming back.
awesome KSE ECW t shirt!
Hey Glenn! Outstanding video as usual. However I just wish to point out
that Glyn says in his book "Sound Man: a Life of Recording Hits" that he
doesn't a use a fixed measurement to install the overheads mics, he just
make sure both are the same distance form the snare to avoid phase
issues, but apart from this there is no rule for him as long as it
sounds great. He stated (still in his book) that he never pans the
O.H. hard left and right as he feels that doesn't sound like natural
drums. Also, he hardly ever uses snare mics. I think it can be heard on
Led Zeppelin's Good Times Bad Times on which the Snare is clearly paned on
the left. Of course it is important to take into account the fact that
the music he recorded was relevant to this style of mic placement and
tracking. As you said this doesn't quite fit the requirement of modern
metal mixes but this definitely works on classic rock. Thank you for the
quality of your content. Cheers from France!
[Source: Sound Man, by Glyn Johns, an excellent book that I'd recommend to any audio enthusiasts.]
I've used this on a couple of my rock recordings with great results. I'd just add that its really important for the drummer to play the kit evenly. I used a pair of Rode NT5s, an SM57, and an EV RE-320 on kick. This allowed me to record a 3 piece band live on only 8 tracks! (4 drums, 1 vocal, 1 bass, and 2 mics on the guitar cab).
I love the sound of Glyn Johns because it's closer to the shells and gives you a hifi, more detailed picture of the kit and I just love a condenser perspective of the kit.
But I prefer it only as an overheads setup, so I still put all my close mics and rooms and it glues the whole thing.
I barely compress my overheads at all, I think they bring back the life to my already compressed close mics and rooms.
I love using this mic setup for live shows as well as recording band practices
I absolutely love this tecnique! At first the drums feel a bit lifeless but once I learned to mix it up with Moses Schneider's Wurst tecnique the drums really began to breathe and move within the mix. With this setup it's EASY to record metal drums on a budget! Great lesson! Cheers from Puerto Rico
Have you heard Glyn John's recording on Joe satrianis 1995 album
My band uses a similar technique in our practice space so we can record demos. This works great!
Glenn you seriously kill it everytime with these drum videos. Been a follower for years keep kickin ass man!
I mic differently with four mics, but without tom resoheads seems to help them cut through the mix because there’s more mids involved as a lot of recordings boost bass/treble for everything and have toms low in the mix regardless of mic count; using less mics means you have to play how you want the final product to sound without heavy compression or EQ.
5 years ago this was posted! Well, you guys would be please to know this is still helping people like me, a music production student about to record live drums for the first time. As usual, I'm learning through my mistakes: not prepared enough. Few mics at hand and don't know what setup my drummer is bringing, he says he trusts it. Wish me luck!
This is a great technique for mic'ing up most kits. I've copied the OH tracks and then run a low pass/high pass on them to better EQ the toms and the cymbals separately.
I know this is an old comment, but I just want to ask how splitting the OH to different frequency bands on separate tracks helps the EQ'ing? Is it so that you can better hear what you're doing, when the track only contains the frequencies you're focused on?
It's this kind of video that makes your subscription worth it. Very helpful. Thanks!
Ive used this setup for metal and it sounded great
Just came from the latest viewers comments, gotta say that snare is absolutely amazing. The cymbals don't cut through great but that snare is cracking
Thank you very much for this technique. I tried it and was very very happy with the results. Not to mention the drummer was happy with the sound too. Love your channel and has loads of helpful hints and tricks. Keep up the good work, and again thanks.
Thank you so much Glen for this! will try this on my band's drum recordings!
this is my main drum recording technique, with a slight mod of using a subwoofer subkick style on the kick in addition to a d112 like you did.. works great, less phase problems
Super punchy, really modern sounding! For what would be called a minimalist setup, that is actually really good =)
I didn't really enjoy the snare sound (but I guess this is just the mic) but this technic is absolutely great !!
I didn't think you'd be able to capture a convincing drum sounds with only 4 mics. Well done.
It doesn't sound as a good tone for metal (in fact it would suck in a metal mix), but I can definitely see that tone in less heavy music. I bet that's how people used to record decades ago :)
I'm guessing the fact that the mic he used is a condenser is why the snare wasn't as good?
My go to technique for overheads, if I need the toms to sound bigger I just add tom mics. Really love how this technique makes the kit sound. Another tip is to try using one of those Apex ribbon mics as the mic over the floor tom, this comes in handy if your drummer has a crash or ride next to the floor tom because the figure 8 pattern of the ribbon rejects cymbal rocking noises from being picked up.
This sounds unbelievable!
This is like EXACTLY the video i needed. Thanks !
Now a 2 mic setup!
2 is just the top mic and the right mic without the snare and kick
Sounds good and totally agree with your opinion on which styles it makes sense to be used.
Nice job Glenn, simplicity on drums with great results! thanks a lot.
Ryan Earnhart form Creativesoundlab has some great in depth videos on the Glyn Johns technique aswell. I recommend checking them out.
Luuk Meijwaard that dude is a hidden gem. No idea why he doesn't have more subs. Some of his videos are a little lengthy or aren't crazy robust, yeah, but I've learned a TON from that guy. I really like his workflow and attitude of how to incorporate real audio in a digital world.
Agreed, CreativeSoundLab is a great channel, thoughtful, well made videos and innovative ideas. His 're-amping' the snare video is fascinating
Thanks checking him out!
Ryan truly has some of the best in depth videos out there, love his passion for recording
Thanks for this video Glenn and TJ!
I've seen this technique used live before. Snare sounds kick butt!! A good drummer with good technique would make this easy go to set-up a shoe in for anything! Sounds killer!
Excellent miking solution. Thanks.
It is absolutely perfect for jazz as well.❤
glyn johns actually said he doesnt pan hard left and right with this technique! i believe he says he pans them out about 40 percent l and r! i might be wrong but i seem to remember him saying that!
James Cassidy yeah he said at about 11 and 1 o clock
You're right, but imo that's just a reference point, and hard panning works just fine if it suits the music.
Great. Thanks for this Glenn. I've been using Glyns method for the past few months and have been having a lot better success with it than a stereo overhead set.
Awesome video man! I've been listening looking for a good way to mic my drummer for cheap this was perfect! Very appreciated
can't wait to try this! thank you!
The title is "Heavy Drums with 4 mics" and the closing line is "if your doing Eagles type stuff, sure, your all set". Bahaha. 😋
Great video though! thanks again!
Great video man, as always.
Greetings from Chile.
Super helpful tip, Glenn!
Noice!
Really loving the drum recording/mixing videos you are doing, absolute godsend!
I would like to know if any of you guys know of any heavy records done with this technique? that would be interesting
Hey Glenn, I had a few seminars with Chris Tsangarides a few years ago, he compressed the fuck out of the OHs (he always used Glyn Johns), some EQ and he got pretty decent toms, even in a british heavy metal style song.
Wow, I had asked about this on the last viewer's comments video, and here it fucking is! Thanks a trillion, dude!
Hey Glen! First, congratulations on your channel! Keep up the good work. Second, I use this technique to record drums (and I play them also. Yeah I'm a drummer, but I can count to 4, LOL) and I have very nice results. Of course, in the mix I have to emphasize the toms somehow, but that's the fun of it all. Great videos, great tips and jokes too! Cheers from Brazil.
(Currently) I start with basic GJ set up - 2x (modded) Studio Projects C1 overhead (v.close to U87s) & RE20 on kick... M201s on snare top, RFT DM622 on bottom (out of phase - these old East German dynamics can sound great on cabs too), Beyer Soundstar X1s (better than a 421) on toms, M422 on hi-hat. Gives me a lot of flexibility, but I have to keep an eye on the phasing. Took me years of refining my sound with what's in my locker, but I've got some nice compliments recently... though to be honest that's probably the change of drummer!
The GJ technique comprises just three mics (two OHs + one for kick); very rarely four (the one in the snare).
This just sounds amazing as usual Glenn!! Keep it up :D
Revisiting this video, I could definitely vibe with this technique for a black metal project
I like how you faded in the guitar. It was easier for me to stay focused on the drums as I shifted my focus the mix.
Super cool. I have to echo what was said about measuring. The video I saved to reference the set up, a student ask Glynn, “do you measure..”. Glynn John says, “No, that’s bullshit”. 🤣. Not trying to bust your balls ..
I only point this out because I love that kind of sensibility.
I agree with you about metal and toms. I thought I was all in for min mic’s but after trying the basic Glynn John (3 mics), I saw the “need” for a 4th (on the snare). That immediately made me think about toms. And I watched a Rick Beato video where they mic’ed top / bottom toms and then I was no longer all in for min mic’s.
I think 4 is great for Rock. CCR type stuff.
I am gonna try compression on overheads like you suggested. That makes sense.
Thanks for sharing your skills. Much appreciated.
Holy shit dude that snare sounds so PHAT. How'd you do that?
watch his massov snare tuning video
Nice, this video came like a godsent, setting up my drums soon....
That sounds excellent!
Glenn how do you EQ live drums using a mixer?
Hi Alvaro Silva. I am not Glenn. Your question cannot be answered easily as live micing is dependent on the room and type of speakers being used. Number of monitors on the floor. Number of vocal mics. How many people in the room. Type of music and lastly ...type of drums and the style of playing the drummer has to offer. Which I’m guessing you’ve experienced by now as your question was asked 2 years ago. Hope you are doing well.
HOLY FUCK! Thanks for the tips on this. Been recording live drums for a few years and never could get a good idea of how to do a setup like this. Sounded great, agree that the toms were a bit lost, but I feel like for a demo, or some rock stuff as you suggested that this would be a great starting point. Big thanks especially for the tape measure tip. Will definitely be using this for future recordings.
Sounds great
Wow that sounds amazing with 4 mics.
dude this was a great help, appreciate ya
bonham used to set the mic kind of this configuration, at least the OH and the side one. Great Mic technique.
As I've read the Glyn Johns was the engineer on Led Zeppelin I, so the whole of that album is recorded like this.
Small request, do you have already done a walktrue of your place? If not, will you make one? I'm really interested in the way you manage to use space at a sound and (I guess) ease of use purpose.
Good one. Thanks for sharing!
Could you do a video explaining more about what makes for a good or a bad sounding room for drum recording? I saw your video about bass traps but I don't see a lot of acoustic panels in this video. I want to get started using this technique but I don't have a professional recording room, just a bigger than average bedroom and can sure put some DIY bass traps (tanks for your video on that) and acoustic foam. Your room does not seem to be too big either and I really like what I hear. Thanks in advance.
Hi, i discover this great video, did this technic could be use to record live ?
I search a way to record rehearsale with less material possible.
Great tip. I could have misinterpreted what I read but the way I read it was that BOTH overheads are supposed to be equal distance from BOTH the center of the snare AND the kick beater to reduce phase problems. Trying to achieve that was kind of a pain in the ass. I ended up scraping the idea because it didn't sound good in the crapy space this band wanted me to record in (and the kit they had was crap). I got BETTER (mind you, not great) results using more close mics and traditional overhead methods.
Nice Peavey Windsor!
For people who use the metric system: 40 inches is just above 1 meter (101,6 centimeters to be precise).
Awesome naturalistic sound, Glenn! Thanks a lot!
How about the recorderman? It's supposed to be two over heads as well as a kick, one directly above the kick and another over the drummer's back shoulder with each mic to sticks away from the kick? Would that sound the same as that?
Great vid! If it was good enough for Bonham...do I have to say more?
Great hair. Could you please do a video lesson on how to windmill properly?
How have you tuned everything? It sounds awesome
Nice! Thanks.
What are your ballpark approaches to the EQ/comp on the Roswells? Not looking for anything too specific, just fast/slow attacks/releases, slight midrange dip, etc.
Honestly, the best sounding drums that I have heard on your channel, much more natural than usual. Also, don't play the guitar yourselt, I can tell it's you imediately ;)
Great video, by the way!
How's it going Glenn? Awesome video...What do you think about using this technique, but with mics on the toms as well?
Make a video about recording with 3 mics, so (hopefully) all drummers will understand that
MrDoboz the way GJ himself explained it in a couple seminar clips, he doesn't even use the snare close mic every tune, and set the OH a little higher at ~45" in a couple seminar clips; he honestly eyeballs it and runs the kick just in front of the head. This doesn't work with every mix, but fits your 3 mic criteria.
The Absent Mind well that applies to any mic situation and goes without saying, good 3 mic shortcut I use for amateur kids doing demos is a mono overhead with close mic on the snare and kick honestly so I can just turn down the cymbal bashing
Hey Glenn, I have and idiotic question:
Does it matter which overhead mics are used?
Can you do the same with the small diaphragm condensers?
I mostly record jazz, folk, bluegrass, country, and yes, I use SDCs there. I use the Altec Coke Bottles. I like flatter mics, I find that mics with a lot of HF boost (like the C451) can sound thin in this setup, a flatter mic captures the toms as well. Also when using SDCs it helps if the drummer is lighter on the metal and also hits the toms with some energy.
this is great for jazz drums as well.
Helps to have a great kit, well-tuned, with good heads and of course a good player! Interesting technique using one of the overhead down low off to the side. What was the thinking there?
Also what mic pres are you using?
Legend says Glyn Johns came up with it by accident. The side mic was used for a different instrument and just happened to be in that spot.
Can you do the WeatherVane technique? I saw a video on it from someone else but I want to see some metal on it!
What are your thoughts on Fenriz's opinion on his ideal drum sounds?
how do you...or do you EQ the overheads ? does not rolling off under 100khz mess with the KICK? and do you anything to accentuate the toms??
Hi Glen, I’ve been using this technique for a while. I am looking at upgrading by getting a few more mic’s. I’m just wondering where I should start next, should I get a snare bottom mic? toms? Do I have to do them all at once? What would be the correct order I should get them in if there is one. Thank you.
Snare mic and left overhead mic seem to be facing each other. Did u flip the phase of one signal?
I've wondered how this would sound doing this but doing the snare mic on bottom to get some extra heft on it while just letting the overheads pick up the snare top.
Don't know if you answered it but, what if you play metal and use tons heavily, could you put a 5th tom between the toms to get a more descent sound for them?
I don't know if its the monitors I'm using but this drum take sounds way "snappier" than other drum demos that has been done in past Glen. This is a technique I'm adding to my black book of stuff I've learned.
I will only watch another drum tutorial if you play Glenn. Now rock them drums man. awesome channel btw
Super old video but have you ever used the SP C4 on overheads?
Do you need a matched pair for overheads?
Old comment, but it depends. A matched pair (or at least two mics of the same model) is a safe bet, but you can always experiment and possibly get great results. The drum kit has a lot of elements that sound very different, and they are spread quite widely in the room, so at least with a spaced pair like this, it's possible you can get surprisingly good sound with even two entirely different types of mics!
Just out of curiosity, what about a glenn johns with mics on the toms? is there an issue with that? please let me know!
Is it possible to use this technique in a live setting?
I have 2-4 inputs on our mixer for the drums :)
+Klaus bak yeah, it should work.
kick, snare, overhead should be more than enough for live sound engineering
Klaus bak it's a standard setup for lots of live bands (soundgarden comes to mind off the top of my head) and it sounds excellent
Is it a better to use small diaphragm condensers as overheads instead?
It would be a matter of taste, or whatever suits the song, but in my opinion SDCs work better on individual sources such as a hi-hat or ride cymbal or in combination with an SM57 for snare drum. Your overheads are there to catch the vibe from the kit as a whole which is a job better suited for large diaphragm condensers.
I do habe 2 condensor mics, But they differ and are Not Equal Models. Is that a problem?
at different heights, how are you not dealing with phase issues with the overheads?
Did you use a matched pair or did you use two separate K47's? Not entirely sure what to buy but I want to utilize this same setup.
whats the purpose of that some sort of slat wall where the guitar were hanged?
1:23 it's not coitus paper-y sounding?
How do you do this with 2 floor Toms and a crash low over the 2nd floor?
Would you be able to add mics in, on top of the set up as it is? You mentioned that the toms were a bit weak, so could you aim a mic specifically at the toms to bring them out? Wish I'd known about this technique during school, would have saved so much time and effort
don't you get more power out your legs for the kick pedal if the seat is higher too?