Glyn Johns Technique

ManInMotion711

ManInMotion711

New member
Ok so ive posted something previously about recording and Eqing my drum set with a full set of mics ( one on every drum and 2 overheads ). After a small convo with a knowledgeable person on here, i decided to try out 4 mics or the Glyn Johns Technique. My question is how would i EQ my over heads now that they are handling cymbals, rack toms and a floor tom, on top of all of the other drums it will obviously pick up. I got some great advice from another person on here, but im not sure how to translate hat into the new technique, Help please?
 
Generally what I do with my GJ overheads is put a HPF at around 35/40 hz, Then I boost around 100 hz. I cut the mids with a broad Q at around 800 Hz to remove some of the boxy cheap feeling of the drums, this is only a 1-2 db cut though. Then to boost attack in the toms and add some shimmer to the cymbals I shelf my overheads around 3-4 HZ and boost around 3 db. This is just what works for me and it may not be the same for you, give it a try but take everything with a grain of salt. Good luck with your mixing!:D
 
Hey M.I.M.

I know this isn't what you want to hear, but you really have to EQ them (or not EQ them) based on what you hear, what you want to hear, and what you don't want to hear. Every kit, drummer, and room are different, so it's almost impossible to short-cut this and give even a "starting point".

Some people don't touch their overheads, some high-pass them at anywhere from 80-200hz, some boost the highest highs, etc....You have to listen for what you think you may need to get rid of and it's probably not the same as what I need to get rid of. The beautiful thing about home recording is that you're not paying for studio time, so experiment like a maniac. Even experiment with mic placement. You don't have to do exactly what Glyn does. Try mving that second mic around, the one that's by the floor tom, for example.

The only 2 sure pieces of advice I can give you are:

1) Tune those drums until they sound as close to perfect as you think they can.

2) Read Greg's sticky about recording drums at the top of this section of the forum.

Good luck, man.
 
RAMI said:
Hey M.I.M.

I know this isn't what you want to hear, but you really have to EQ them (or not EQ them) based on what you hear, what you want to hear, and what you don't want to hear. Every kit, drummer, and room are different, so it's almost impossible to short-cut this and give even a "starting point".


2) Read Greg's sticky about recording drums at the top of this section of the forum.

Good luck, man.
Click to expand...

Its what i need to hear though, and i have read it, i have it book marked to go back to for reference when i need it, and JG96, thanks thats what i was looking for, my main concern though is if i bring up the mids for the toms a bit wont that have an effect on the cymbals?
 
90% of my bit of drum tracking over the years is with a pair of QTC-1's, + kicks and snares for the most part.
There's all sorts of fun ways to answer that last question :D (You know it will effect everything I think

You're eqing the kit.. and the room for the matter.

FWIW I do add a second pair for the 'cymbal candy option lately. :D
 
would removing the reso head on my bass drum and putting the mic a little closer to the batter head just off center of the beater give a more full punchy sound? instead of a gun shot muffled like crazy? ( best way i can think to describe it )
 
Is there a sticky or something that will explain the proper usage of a high pass/ low pass filter? That's something I've never used before
 
ManInMotion711 said:
Is there a sticky or something that will explain the proper usage of a high pass/ low pass filter? That's something I've never used before
Click to expand...
Get your mix roughed in, do some careful listening to everything that's contributing to the low end- in total, in combinations, in and out of solo.
Clear out stuff that's not helping or needed- high pass typically, particularly things besides the kit/kick and bass.
You're looking for insight from any angle you can to see what's doing what down there. As well as levels and tone balances of the bass and kick, their shape and decay.
From there you start to decide (or experiment with) how you'd like the kit/kick and bass to set and play together.
 
You're eqing the kit.. and the room for the matter.



You're eqing the kit.. and the room for the matter.
 
I guess it all depends on the sound your after, but yes you're just going to have to use your ears.

Most drum tracks on the radio today are so over cooked they don't even sound like a drum at all. Just take whatever you get and make it sound as good as you can, while still allowing it to be the instrument it is.


Just an opinion.
 
ManInMotion711 said:
Is there a sticky or something that will explain the proper usage of a high pass/ low pass filter? That's something I've never used before
Click to expand...

In answer to your question:

High Pass Filter - This allows you to cut out any unnecessary low end from tracks that don't need it. The net effect of this is a "clearer" mix. Essentially this would be everything but the kick drum and bass guitar. So a High Pass Filter allows the high frequencies to pass, while blocking out the lower frequencies. A Low Pass Filter is just the opposite, allowing low frequencies to pass while blocking the higher frequencies.

For the most part a guitar will not go that low (okay I'm not talking 8 strings here) so you can safely remove that 80Hz and below rumble. By running the signal through a HPF and cutting that unwanted and unused low end, you do save yourself some headroom in the long run. By getting rid of those lower frequencies on your guitar tracks, you've given yourself more room for your kick drum and bass tracks. Nice huh?

I hope this helps to answer your question. :thumbs up:
 
You must log in or register to reply here.
Back
Top