Page 1 of 2 1 2 LastLast
Results 1 to 10 of 16

Thread: Snare Too Loud in OHs w/ Glyn Johns Mic Technique

  1. #1
    Join Date
    Sep 2009
    Posts
    121
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Rep Power
    8

    Snare Too Loud in OHs w/ Glyn Johns Mic Technique

    Sign in to disable this ad
    I've been using the Glyn Johns Mic Technique for my drum kit with great results, but the snare is picking up too loud on the overheads. Is there a way to cut it's volume down? Is that what the duct tape on the drum skins is for? Thanks.

  2. #2
    Join Date
    Mar 2010
    Location
    Boulder, CO
    Posts
    6,751
    Thanks
    7
    Thanked 280 Times in 269 Posts
    Rep Power
    14533899
    The Glyn Johns technique may simply be incompatible with your playing style. If adjusting your playing isn't an option perhaps a different mic technique is the way to go. You could try different snares, heads, tuning or damping but I doubt that will be a solution.

  3. #3
    Join Date
    Jul 2009
    Location
    Auburn NY
    Posts
    2,664
    Thanks
    0
    Thanked 34 Times in 31 Posts
    Rep Power
    6593621
    To loud? Can you post a clip? I'm actually interested in hearing it. I've never heard anyone complain of the snare being to loud in the OH before, it's usually the high hats.
    My home studio ---> www.nerolstudio.com

  4. #4
    Join Date
    Jul 2004
    Location
    Las Vegas, Nevada
    Age
    51
    Posts
    14,730
    Thanks
    0
    Thanked 361 Times in 335 Posts
    Rep Power
    14782712
    Too loud compared to what?

    One of the downsides to the Glyn John's method is that the drummer has to basically mix the drums as he is playing, since there is no way to adjust the relative volumes later.

    The good side is, if you are the drummer, once you learn how to mix yourself as you are playing, you are a much better and more useful drummer than a lot of drummers out there. Recording drums will become much easier, no matter what method you use and bleed will no longer be a problem.

    But for tracks you have already recorded, your only hope will be a lot of compression.
    Jay Walsh
    Farview Recording. I am also the forum spokesmodel for Terasyne Amplification

  5. #5
    Join Date
    Mar 2001
    Location
    ArizonaMaybe
    Age
    67
    Posts
    8,802
    Thanks
    64
    Thanked 85 Times in 78 Posts
    Rep Power
    9330124
    Quote Originally Posted by Guitargodgt View Post
    To loud? Can you post a clip? I'm actually interested in hearing it. I've never heard anyone complain of the snare being to loud in the OH before, it's usually the high hats.
    Here's a angle for you. I track -typically, with a pair of kit' mics- happen to be a wide side placement but irrelevant, kick, snare, hat sometimes, and some option' adds like mono FOK, room what have you.
    With at least one of our good and really strong (competent and strong) local drummers I've tracked I've ended up with lots ('too much' in our context here) of snare.
    Not so much when he's using toms, fills, cymbals and such, but more when it's just kick hat and snare. There, I've struggle with not enough 'kit'- i.e. just too narrow' pointy' in the mix.
    'Placement (other than FOK to some degree) is going to 'fix this particular problem.
    Quote Originally Posted by Farview
    But for tracks you have already recorded, your only hope will be a lot of compression.
    I've come up with quite a little selection of comp/limiter schemes as a result. All in part- aimed at eking out the sound of 'a kit' setting apropos for the mix.
    Placebo stomps 96k ....... Recent projects
    Ray Catfish Copeland 'Got Love Jim Goodman 'Southern Steel

  6. #6
    Join Date
    Jan 2006
    Location
    Fremantle, Australia
    Age
    59
    Posts
    4,953
    Thanks
    0
    Thanked 107 Times in 95 Posts
    Rep Power
    11145421
    Don't play the snare so hard, get a quieter snare.

    Sounds obvious I know, but a lot of drummers bash the daylights out of the snare then tap on the toms, the mics can only pick up what is happening. I have the same trouble with some drummers when I multi mic the kit, every mic with loads of snare, the snare is hit hard the snare is too loud.

    Alan.

  7. #7
    Join Date
    Apr 2004
    Location
    Near Harrisburg, PA
    Posts
    1,723
    Thanks
    1
    Thanked 2 Times in 2 Posts
    Rep Power
    2500471
    I agree with Farview that if tracking is already finished, limiting or compression with zero attack will easily trim down transient peaks.

    To answer your question, a dead-ringer (a flat tone control ring,) on the snare head will tame it down some. Otherwise, the snare may be tuned too tightly.

    However, if you like the snare sound, but don't like the results of that recording method, then you've either chosen the wrong method or have not tweaked it enough to suite. Tilt the OH mic away from whatever is too loud and more toward whatever is not loud enough. Add another mic or two if necessary and/or close-mic whatever items you want sounding bigger. There are no rules, only results.

  8. #8
    Join Date
    Sep 2009
    Posts
    121
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Rep Power
    8
    Quote Originally Posted by RawDepth View Post
    I agree with Farview that if tracking is already finished, limiting or compression with zero attack will easily trim down transient peaks.

    To answer your question, a dead-ringer (a flat tone control ring,) on the snare head will tame it down some. Otherwise, the snare may be tuned too tightly.

    However, if you like the snare sound, but don't like the results of that recording method, then you've either chosen the wrong method or have not tweaked it enough to suite. Tilt the OH mic away from whatever is too loud and more toward whatever is not loud enough. Add another mic or two if necessary and/or close-mic whatever items you want sounding bigger. There are no rules, only results.
    That's actually what I did with good results...I just moved the high OH a bit off the snare; I had it right over it initially. It's also true about controlling the recording outcome by how hard/soft you hit the skins. I've just been messing around with the mic placement so far. I've got plans to record a friend's band along with some demos of my own, so I'm just trying to get everything placed correctly before they come in. It's coming along well. I'm really digging the Glyn Johns method. I can play the drums, but won't be the drummer for the band I'm starting up. However, I plan of finding a proper drummer, and if they don't understand how to hit the skins, they aren't right for the gig.

    I've been using the Glyn Johns method cuz of my lack of mics; my mic locker is pathetic at this point.. a pair of MCA SP1's, a SM 57 and a shitty $40 Shure AXS 2. My next purchase will be a kick/bass mic. Probably a vintage Sennheiser MD-421; I've read that the U4 and U5 are the ones to get, as far as the original variants go. I've only heard the 421 on YouTube kick/bass shootouts and always like it best. A local rental place has one of the newer models, a U mkII. I'm gonna rent it for the day just so I can check it out and hear it with my own ears. I figure that if I like the newer model, I'll like the vintage one that much better. I'm a bit hesitant buying a vintage one tho. Besides having to buy it off an internet site without even hearing it first (although it's advertised with low hours and in excellent condition), I recently read an article with a Sennheiser rep who was saying that parts for the older German mics are getting harder to come by...the stock is running low. Obviously I'm hoping the one I get doesn't break, but it's something you have to prepare for.

    Oh ya, what's Mono FOK?

  9. #9
    Join Date
    Jul 2004
    Location
    Las Vegas, Nevada
    Age
    51
    Posts
    14,730
    Thanks
    0
    Thanked 361 Times in 335 Posts
    Rep Power
    14782712
    I used both the 421s for kick over the years. They are two slightly different flavors of the same thing. I always used anot her mic outside the kick along with it, because it always seemed a little things. (But I really liked the attack the 421 got)

    I wouldn't get hung up on finding a vintage one. They aren't that different. The older ones are more mellow, but who knows if they were that way originally, or if they just get that way after 30 years...
    Jay Walsh
    Farview Recording. I am also the forum spokesmodel for Terasyne Amplification

  10. #10
    Join Date
    Sep 2009
    Posts
    121
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Rep Power
    8
    Quote Originally Posted by Farview View Post
    I used both the 421s for kick over the years. They are two slightly different flavors of the same thing. I always used anot her mic outside the kick along with it, because it always seemed a little things. (But I really liked the attack the 421 got)

    I wouldn't get hung up on finding a vintage one. They aren't that different. The older ones are more mellow, but who knows if they were that way originally, or if they just get that way after 30 years...
    What do u mean by "it always seemed a little things?" You mean thin?
    Ive heard other people say there isnt much difference in sound between the originals and new models. What variant of the new models would u suggest trying? Thanks.

Thread Information

Users Browsing this Thread

There are currently 1 users browsing this thread. (0 members and 1 guests)

Similar Threads

  1. Glyn Johns Method....sort of
    By ibleedburgundy in forum Drums and Percussion
    Replies: 6
    Last Post: 03-28-2016, 09:01
  2. Glyn Johns Technique
    By ManInMotion711 in forum Drums and Percussion
    Replies: 10
    Last Post: 05-13-2013, 15:33
  3. Glyn Johns Drums
    By acattoir in forum MP3 Mixing Clinic
    Replies: 38
    Last Post: 10-20-2008, 11:08
  4. Glyn Johns micing technique
    By slidey in forum Drums and Percussion
    Replies: 4
    Last Post: 06-04-2006, 09:23
  5. glyn johns mic placement?
    By dietcookie in forum Recording Techniques
    Replies: 1
    Last Post: 06-23-2004, 07:16

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •  
Special 93% Offer

Got beats? Samples? Mixing and mastering services? Get a head start with this 93% OFF special offer!