Glyn Johns - different overheads?

Let's talk about kits and mics, new and old. What are you using? What do you want? What's the difference?

Moderators: ChrisW, rick, Mark Bassett

Glyn Johns - different overheads?

Postby nado1969 » Tue Nov 29, 2011 2:20 pm

Hi all

I don't do much drum recording. When I do record them, I've had some success with the Glyn Johns technique. My room is pretty big and doesn't sound too bad, high roof with lots of timber. The only mics I've used are a pair of NT5's, an MD421 on kick and an SM57 or M201 on the snare. Pretty happy with that setup, but not sure what I think of the NT5's, don't really have much to compare with. I know a lot of people don't like them.

Yes I know the answer, "try it and see", but the session coming up this weekend I won't have a lot of time to experiment. Perhaps I should just go with what I know.

What if I used my Gefell UMT70S as the main overhead, and say a Rode NT1 or Neuman LDC (TLM103 I think) as the side mice? Has anyone tried something like this? It seems to me that a matched pair is critical when trying to create a true stereo image with say ORTF, X/Y, spaced pair etc., but this does seem to me to be more based on phase relationship etc. I guess I'd like to try the LDC approach instead of the NT5's, but don't have the resources for a matched LDC pair.

Anyway, thought I'd just see what you guys think....

Cheers!
Nathan Warrick
Kane Audio Music Production - Melbourne
http://www.kaneaudio.com.au/
User avatar
nado1969
Registered User
Registered User
 
Posts: 24
Joined: Fri May 13, 2011 2:16 pm
Location: Melbourne

Re: Glyn Johns - different overheads?

Postby Chris H » Tue Nov 29, 2011 2:34 pm

With using different mics in the pair, you will most likely find it difficult to get the centre image of the snare and kick to sit right. What other mics have you got in pairs? Another Gefell and you would be there as they are a good mic for the job. Where abouts in Melbourne are you as you could hire my two ACM 1200 LDC to give a try for a reasonable rate, or maybe a pair of my ACM 3 ribbons.You have to promise to more than look after them and put shot bags on the mic stands. :ar! Fig 8 is good if you have high ceilings. The NT 5 is an ok mic for the job but I suppose what you are wanting is more options?
Last edited by Chris H on Tue Nov 29, 2011 2:44 pm, edited 1 time in total.
Chris Hallam.
https://soundcloud.com/hallamsound
Whatever floats your boat.
User avatar
Chris H
Forum Veteran
Forum Veteran
 
Posts: 2261
Joined: Mon May 09, 2005 11:20 am
Location: Off The Planet

Re: Glyn Johns - different overheads?

Postby nado1969 » Tue Nov 29, 2011 2:43 pm

Hi Chris
I'm under the impression LDC mics are preferred for this 3 or 4 mic setup as overheads, but don't have access to a pair of anything, let alone a matched pair, apart from my NT5's. Might just stick with the NT5's, preamps are ok, kit and room are ok. I've thought about buying a pair of MK-012's, but not really convinced they'd be significantly better. Besides, as usual, funds are limited so I'm using what I've got.
Nathan Warrick
Kane Audio Music Production - Melbourne
http://www.kaneaudio.com.au/
User avatar
nado1969
Registered User
Registered User
 
Posts: 24
Joined: Fri May 13, 2011 2:16 pm
Location: Melbourne

Re: Glyn Johns - different overheads?

Postby ChrisW » Tue Nov 29, 2011 2:52 pm

Just for the record, U87's or U67's I think.
So I guess that's the concept you are aiming for with cheaper mics.
Whitten
ChrisW
Valued Contributor
Valued Contributor
 
Posts: 1285
Joined: Thu Jan 29, 2009 12:01 pm
Location: Hunter

Re: Glyn Johns - different overheads?

Postby GlennS » Tue Nov 29, 2011 3:44 pm

When using this technique for overheads I sometimes use a U87 & an MK219 (Oktava) & eq to get them closer in sound. The image tends to lean a bit anyway (bass drum to the side mic & snare to the OH mic), but by the time you add your bass drum mic & snare mic to the centre, as well as everything else in the mix, you won't notice it so much. If it still bothers you then you can always pan them in a bit. I would recommend using the brighter mic on the side & would also recommend using the TLM103 over the NT1.

Having said all that, I would first recommend using the Gefell mic as a centre mic (so you now have L-C-R) to augment your existing technique and see if that gets you where you want to go. A good starting point would be to place it over the drummer's left shoulder. I usually use a Coles 4038 or RCA44 here, and sometimes I ditch the L & R mics. But it's a good way to beef up the sound, especially when you're using SDCs (even Oktava MC-012's, of which I own a pair). The only SDCs I have really liked for the "Glyn Johns" technique are DPA 4011's.
Glenn Santry
HeartBeat Studio

www.myspace.com/glennsantry
GlennS
Registered User
Registered User
 
Posts: 178
Joined: Tue Apr 20, 2010 5:37 pm
Location: Sydney, Australia

Re: Glyn Johns - different overheads?

Postby nado1969 » Fri Dec 02, 2011 11:11 am

Thanks for all the tips guys. Decided I'm going to use the following config on the day. 3 or so takes of each track, only the drummer playing to click (maybe). Aim is mainly to capture foundations as a unit - Drums, Bass, Rhythm Guitars and Guide Vocals (may or may not use). Room is approx 8m x 5m, thick carpet with sloped high hardwood roof with exposed beams, hardwood & brick walls. Got plenty of fiberglass office divider panels to use for gobo's. Room sounds pretty good as far as I can tell - not too lively, but not too dead or boxy either.

Gefell UMT70S for the main overhead (over the snare)
Neumann TLM 103 for the side mic.
MD421 Kick
Beyerdynamic M201 Snare
Guitar 1 VoxAC15hw - Royer R121
Guitar 2 JC120 - 2 x sm57's (or a heil pr30 with an e906 - might experiment a bit). Stereo to capture the chorus.
DI the bass and acoustic (may replace of fix later)
Beta 58 Lead Vocals (may replace, depends how it comes out)
Overdub solo's / BV's / mandolin etc later

Metric Halo ULN8 + Mackie 800R. Individual cans mixes from MH Mixer.


Should be interesting.....I mostly produce the work I do a track at a time, so this is my first time doing a serious recording with a full band, and I'm one of the guitar players so the pressure is on....! :-ss Hoping to do more band recording if it comes out ok, either here at home or on location as my whole recording rig fits in the boot of a car.

Fingers crossed.....
Nathan Warrick
Kane Audio Music Production - Melbourne
http://www.kaneaudio.com.au/
User avatar
nado1969
Registered User
Registered User
 
Posts: 24
Joined: Fri May 13, 2011 2:16 pm
Location: Melbourne

Re: Glyn Johns - different overheads?

Postby Toddo » Tue Dec 06, 2011 9:56 pm

I've used this technique a few times on Jazz recordings and live and I like the sound. I go for a pair on the "overheads". If budget us a consideration (when isn't it???) I find the Studio Projects CS1's to be really good sounding in the studio and they're very affordable LDC's.

Let us know how it goes?
Tod Deeley
Recording & Live Engineer/ Mixer/ Editor, Sound A/V Technician.
http://www.toddeeley.com.au
Toddo
Registered User
Registered User
 
Posts: 24
Joined: Tue Jun 22, 2010 1:00 am
Location: Sydney

Re: Glyn Johns - different overheads?

Postby nado1969 » Wed Dec 07, 2011 8:31 am

It came out ok. I wish I'd spent more time on mic placement though, it doesn't quite have the body I was hoping for. It was a little rushed on the day. I think it will be quite usable though. Would like to think carefully about buying some mic's to use for OH duties, in particular for this technique. Maybe a pair of KSM32's? Or I could lash out and get another UMT70S to go with the one I have. Don't know, too many choices and not enough money!!
Nathan Warrick
Kane Audio Music Production - Melbourne
http://www.kaneaudio.com.au/
User avatar
nado1969
Registered User
Registered User
 
Posts: 24
Joined: Fri May 13, 2011 2:16 pm
Location: Melbourne

Re: Glyn Johns - different overheads?

Postby The Tasmanian » Wed Dec 07, 2011 11:17 am

This Glyn Johns method has rarely been amazing on its own for me.
I prefer 2 overheads (same mics) to get a good stereo image - and I prefer to have some close mics to give some body to each drum.

I also think its one of those overly hyped (over the internet) setups than can work sometimes - but most of the time its just pretty good, and allows for no flexibilty in mixing.
And in the context of a whole album - or EP, it is a very one dimensional approach to recording - and it will only ever give you a one dimensional approach to mixing, fine for a song or two.

Reminds me of bands and especially engineers that use/allow the same snare on every song, same cymbals, same drum tuning, same mic positions, same guitars, same guitar pics, same amps, same eq on the amps, same pickup selection, same pedals, same vocal mics, same mic pre's, same room mic positions, same bass guitars
---- oh yeah they want the mixes to not sound the same at all.
- unless of course its another one millionth one dimensional jazz album ...(yawn)
C h r i z t o w n o
The Tasmanian
Valued Contributor
Valued Contributor
 
Posts: 1877
Joined: Thu Nov 27, 2008 8:04 am
Location: Deep in the woods....

Re: Glyn Johns - different overheads?

Postby Drumstruck » Wed Dec 07, 2011 12:43 pm

You mean you get sick of swapping 8s too? Mark time... your solo... mark time.... your solo.... Not that I don't like good jazz - it's just getting a bit rare.

But on topic I've been using a mixed pair of o/heads that sound nice together - a little Blondie (courtesy of Ben) and an STM tube - both well priced mics and give a surprisingly warm and rich sound together (MS).
Ian Dare
Drumstruck
Valued Contributor
Valued Contributor
 
Posts: 1513
Joined: Fri Sep 17, 2010 12:37 pm
Location: Over the hills and far away

Re: Glyn Johns - different overheads?

Postby GlennS » Wed Dec 07, 2011 1:59 pm

nado1969 wrote: Don't know, too many choices and not enough money!!


When in doubt wait a little longer, save more money & go with the better quality option.
Glenn Santry
HeartBeat Studio

www.myspace.com/glennsantry
GlennS
Registered User
Registered User
 
Posts: 178
Joined: Tue Apr 20, 2010 5:37 pm
Location: Sydney, Australia

Re: Glyn Johns - different overheads?

Postby The Tasmanian » Wed Dec 07, 2011 6:35 pm

The little Blondies are great! - stupidly great for $80...
C h r i z t o w n o
The Tasmanian
Valued Contributor
Valued Contributor
 
Posts: 1877
Joined: Thu Nov 27, 2008 8:04 am
Location: Deep in the woods....

Re: Glyn Johns - different overheads?

Postby Toddo » Wed Dec 07, 2011 11:31 pm

The Tasmanian wrote:This Glyn Johns method has rarely been amazing on its own for me.
I prefer 2 overheads (same mics) to get a good stereo image - and I prefer to have some close mics to give some body to each drum.

I also think its one of those overly hyped (over the internet) setups than can work sometimes - but most of the time its just pretty good, and allows for no flexibilty in mixing.
And in the context of a whole album - or EP, it is a very one dimensional approach to recording - and it will only ever give you a one dimensional approach to mixing, fine for a song or two.

Reminds me of bands and especially engineers that use/allow the same snare on every song, same cymbals, same drum tuning, same mic positions, same guitars, same guitar pics, same amps, same eq on the amps, same pickup selection, same pedals, same vocal mics, same mic pre's, same room mic positions, same bass guitars
---- oh yeah they want the mixes to not sound the same at all.
- unless of course its another one millionth one dimensional jazz album ...(yawn)


Off topic, but I'm guessing you don't like jazz Chris. Fair enough, each to their own. If you actually listened to some of it you would realise how wrong that last statement was.
Tod Deeley
Recording & Live Engineer/ Mixer/ Editor, Sound A/V Technician.
http://www.toddeeley.com.au
Toddo
Registered User
Registered User
 
Posts: 24
Joined: Tue Jun 22, 2010 1:00 am
Location: Sydney

Re: Glyn Johns - different overheads?

Postby The Tasmanian » Thu Dec 08, 2011 7:28 am

Todd I love Jazz - and have worked with many of the top jazz guys in Australia over decades - recorded and mixed many albums too.
And I stand by what I said.
C h r i z t o w n o
The Tasmanian
Valued Contributor
Valued Contributor
 
Posts: 1877
Joined: Thu Nov 27, 2008 8:04 am
Location: Deep in the woods....

Re: Glyn Johns - different overheads?

Postby Drumstruck » Thu Dec 08, 2011 8:16 am

The Tasmanian wrote:The little Blondies are great! - stupidly great for $80...


They've just become available again (in August) - the new model is black with a slightly different shape body - there was some mention of dual diaphragms but I didn't have time to look into it more. They're $120USD now. A pair of the new ones is on my wish list for 2012.
Ian Dare
Drumstruck
Valued Contributor
Valued Contributor
 
Posts: 1513
Joined: Fri Sep 17, 2010 12:37 pm
Location: Over the hills and far away

Re: Glyn Johns - different overheads?

Postby Chris H » Thu Dec 08, 2011 11:31 am

The Tasmanian wrote:Todd I love Jazz - and have worked with many of the top jazz guys in Australia over decades - recorded and mixed many albums too.
And I stand by what I said.


Good on you for sticking to your guns....so to speak. I'm guessing at what you are getting at here is also reflected in other aspects of recording and it strikes a chord with me........how many times have we seen a great band put out a fantastic slightly rough first CD that has met with great success only to be hijacked by the "industry" to " over produce" and "over perfect" their 2nd CD untill the grounded passionate essence of the bands individuality is lost.
Another dynamic comes with success, and I think this is true particularly for the Jazz community. Success brings with it the scrutiny of your peers and with this comes the need to make every recording project perfect to the point where passion has been pushed aside. This is one reason I enjoy live recording. The band is playing to an audience and there is an energy present that is often missing in the studio.
I have seen many great recordings bought to almost nothing because the individual players all insist on having their say about miopic details of their individual playing, not wanting this or that little insignificant imperfection being retained forever on a recording. Of course there is a balance that has to be found but often it leans so far to the perfectionist end that the band's magic has been eradicated. This is what i strive to be good at,.... especially with young, inexperienced bands. To hear what the band has that is unique to the band and keeping it alive and well in the recording project. All this goes along with being prepared to use different recording techniques and tools with each new and different song. Just using distance from the mic to suit a particular mood for an instrument can be a powerfull element in production.
Chris Hallam.
https://soundcloud.com/hallamsound
Whatever floats your boat.
User avatar
Chris H
Forum Veteran
Forum Veteran
 
Posts: 2261
Joined: Mon May 09, 2005 11:20 am
Location: Off The Planet

Re: Glyn Johns - different overheads?

Postby jkhuri44 » Thu Dec 08, 2011 11:57 am

must resist urge to derail thread further.... (bites lip)
Jamil Khuri
Amusement & Audio Engineer
"it's not awesome unless its 240bpm with distorted 909 kicks!"
jkhuri44
Forum Veteran
Forum Veteran
 
Posts: 2528
Joined: Wed Sep 20, 2006 10:53 pm
Location: Dundas

Re: Glyn Johns - different overheads?

Postby Chris H » Thu Dec 08, 2011 12:00 pm

jkhuri44 wrote:must resist urge to derail thread further.... (bites lip)



..............quote; copy and paste....start a new thread and have your say ;)
You do not have the required permissions to view the files attached to this post.
Chris Hallam.
https://soundcloud.com/hallamsound
Whatever floats your boat.
User avatar
Chris H
Forum Veteran
Forum Veteran
 
Posts: 2261
Joined: Mon May 09, 2005 11:20 am
Location: Off The Planet

Re: Glyn Johns - different overheads?

Postby rightintheface » Fri Dec 09, 2011 11:05 am

Re: the picture.

HIlariousness aside, am I the only one who doesn't like close mic'ing a snare like that? No matter what drummer/snare/mic I've used, I always end up pulling the snare mic away a few inches and catching shell rather than skin. I just don't like the sound of a close-mic'ed top skin. AM I ALONE!??! L-)
Mitch Catterall
Down The Rabbit Hole
rightintheface
Registered User
Registered User
 
Posts: 168
Joined: Sun Mar 27, 2011 11:02 am
Location: Melbourne

Re: Glyn Johns - different overheads?

Postby GlennS » Fri Dec 09, 2011 11:46 am

I won't say that I don't like it, but I often choose to mic a snare with a condenser mic from several inches away. I have got some great sounds by close mic'ing though. It all depends...
Glenn Santry
HeartBeat Studio

www.myspace.com/glennsantry
GlennS
Registered User
Registered User
 
Posts: 178
Joined: Tue Apr 20, 2010 5:37 pm
Location: Sydney, Australia

Re: Glyn Johns - different overheads?

Postby The Tasmanian » Fri Dec 09, 2011 12:04 pm

I like the mic up quite a bit - even 6 - 8 inches high on a 45 deg angle only about 1 inch in from the rim - but depends on the drummer setup (like how high the rack tom and hihats are)
So I start high and work my way down. IME the better the drummer the higher it can be- and the better it sounds.

That really low snare mic set-up is a live "thwak" rock thing - and its a prettty shitty sound generally - but not always.

One thing I do know is when you have a set of rules (with drum mic's) sometimes its worth breaking them - and every drummer/drum is so different that one approach cannot possibly work on a continual basis - especially with a snare drum
C h r i z t o w n o
The Tasmanian
Valued Contributor
Valued Contributor
 
Posts: 1877
Joined: Thu Nov 27, 2008 8:04 am
Location: Deep in the woods....

Re: Glyn Johns - different overheads?

Postby Alistair » Fri Dec 09, 2011 4:23 pm

Hey Chris- what you were saying about jazz records struck a bit of a chord with me. I am a jazz musician by trade (90% of the time at least!), but I go through big phases where I can't listen to jazz records because I get bored with the overall sound. The same warm but clear, all instruments balanced, nothing sounding obviously compressed/EQ'd/manipulated in any way sound is great, but rock and roll has just shown there are so many other ways to make interesting recordings IMO.
Maybe it's just the time I spend on the engineer side of the mic, but I can't help but feel there is a degree of conservatism that limits the expression on a lot of records, which I've always found strange because jazz players are not a conservative group in most other ways.
I'd be keen to hear any records (of yours or anyone else) that you think are engineered or produced really well in the genre? I've got a couple of records that I think are beautifully played, but also really intelligently produced that resonate with me so much more than records that are beautifully played, but produced in a very dry conservative way.
Alistair McLean
Alistair
Frequent Contributor
Frequent Contributor
 
Posts: 631
Joined: Fri Jul 16, 2010 11:35 am
Location: Melbourne

Re: Glyn Johns - different overheads?

Postby The Tasmanian » Fri Dec 09, 2011 5:16 pm

Exactly Alistair - but also in the content/the ideas/the playing AND the production, what the players are getting out of their instruments, what they do with the tuning (always standard) etc etc.
99% of the time is the same approach in every department - that's what leaves me bored shitless.
Its supposed to be this free creative medium and it rarely is - it was 40 years ago!
The 2 artists in Australia that I am really fans of is Carl Dewhurst and Simon Barker - together or seperately.
These guys take things/approaches to the stratosphere. Simon spent years studying Korean drums and what he can do on a kit is gobsmaking. Carl has transended what a guitar can do.
Chris Abrahams is another genius - he's on another level.
There are a sparse few others too
I wish there was more players like them.......hardly any in this country....
Its all "chops" - makes me want to be a vegetarian!
C h r i z t o w n o
The Tasmanian
Valued Contributor
Valued Contributor
 
Posts: 1877
Joined: Thu Nov 27, 2008 8:04 am
Location: Deep in the woods....

Re: Glyn Johns - different overheads?

Postby jkhuri44 » Fri Dec 09, 2011 5:19 pm

i think the major limitation of jazz artists are their conservatism in timbre...and also sometimes in format.

im not chris, but check out a band from Norway called "Supersilent"...their catalogue, i think from 1-10...is frikkin amazing....proper experimental jazz...really sick sounds...pushing the boundaries in tonality, timbre, rhythm...all improvised, not one planned piece of music....

EDIT: also one of the only bands i know, able to pull of going from amazing sacred sounding ambient music all the way to harsh rhythmic/clattering noise.

stuff on ECM is all brilliantly engineered in my opinion...the fusion stuff by Jan Garbarek is pretty breath taking, esp the stuff with Nusrat Fateh Ali Khan :-)
Jamil Khuri
Amusement & Audio Engineer
"it's not awesome unless its 240bpm with distorted 909 kicks!"
jkhuri44
Forum Veteran
Forum Veteran
 
Posts: 2528
Joined: Wed Sep 20, 2006 10:53 pm
Location: Dundas

Re: Glyn Johns - different overheads?

Postby Alistair » Fri Dec 09, 2011 6:12 pm

I've studied and hung out with Simon and Carl a bit as I think we've talked about. They are two of my absolute favourite musicians in Australia, and the world. I really love the last 2 Showa records as there are so many moments when I have no idea what is 'acoustic' music and what is production/studio technology. Everything flows so seamlessly I can just focus on sound, and forget there are guitars and drums in there.

As far content/ideas/playing, I agree and disagree. Harmonically, rhythmically and melodically, there is so much incredible, forward thinking shit going on it's amazing. And that's just in Australia, let alone the rest of the world.
But in terms of form, arrangement, and timbre, I get bored. And the longer I do music, the more I realise that sound is the thing that gets me excited. I can intellectually appreciate all the other stuff, and it's great, but I get excited and form emotional attachments to sound.

Thanks Jamil, I'll check that out. Have heard the Garbarek stuff, and he's pretty great. Overall I have a funny relationship with ECM- it's such a great sound, but I also feel like Manfred or whomever is the boss produces everyone in the same way. You can always tell an ECM record!
Alistair McLean
Alistair
Frequent Contributor
Frequent Contributor
 
Posts: 631
Joined: Fri Jul 16, 2010 11:35 am
Location: Melbourne

Re: Glyn Johns - different overheads?

Postby mylesgm » Sat Dec 10, 2011 8:42 am

There are a bunch of interesting jazz musicians here in melbourne, check out Way Out West "Effects of Weather" or "old grooves for new streets". Peter Knight is the leader and has another fascinating side project, "Fish Boast of Fishing". Adam Simmonds is another expressive and explorative jazz musician, Barney McAll, Gian Slater, Chris Hale, Dale Gorfinkel, Luke Howard, Andrea Keller, Xani Kolac, in fact as I think about it there are loads of them here in melbourne and those are just some of the ones I worked with this year!

I understand what you are talking about though in terms of the one dimensional Jazz album approach and this is often because of deep misunderstanding about the process of recording and the opportunities available to them for creativity within that process. It just is not a part of the discussion of a jazz album like it is for an indi/pop/rock album where every track is treated and approached differently. Part of the reasons for this from both sides of the glass is the similarity of instrumentation and because the albums of the past (50's-60's) are held in such high regard. There is also a heavy focus on the 'live' aspect of performance in jazz and so the idea of overdubbing or other recording processes is an anathema to the hardcore jazz musician.

My composition lecturer who was a hardcore jazz lover said that "Jazz" as a creative medium finished when Davis' "Bitches Brew" came out and since then it has either been fusion (jazz blended with almost anything else) or the recreation of a historical genre, not creation or invention. In much the same way that we recreate early music or 1960's classical. Yes it involves improvisation but the rules of that improvisation are very well defined and so often no matter how we use the space within the rules, it is a paint by numbers approach. Not that this is necessarily a bad thing, I enjoy early music and historical jazz but it is important to view them within the context that they are.
Myles Mumford
Producer/Composer/Engineer/Sound Artist
Making records in sunny Melbourne

www.mylesmumford.com
User avatar
mylesgm
Valued Contributor
Valued Contributor
 
Posts: 1872
Joined: Mon Feb 09, 2009 6:48 pm

Re: Glyn Johns - different overheads?

Postby Drumstruck » Sat Dec 10, 2011 9:58 am

I saw a drummer named Louis Burdett some years ago and he was the closest thing to pure drumming I've ever seen or heard - awesome technically, fast, smooth and pretty much free form improvisation. Until I saw Louis I had no time for this thing that people call jazz but strangely can never define......
Ian Dare
Drumstruck
Valued Contributor
Valued Contributor
 
Posts: 1513
Joined: Fri Sep 17, 2010 12:37 pm
Location: Over the hills and far away

Re: Glyn Johns - different overheads?

Postby jkhuri44 » Sat Dec 10, 2011 10:06 am

it's pretty hard to listen to Interstellar Space by John Coltrane, and take anything seriously after that. all improv/free jazz shit....just pails after listening to something like that.
Jamil Khuri
Amusement & Audio Engineer
"it's not awesome unless its 240bpm with distorted 909 kicks!"
jkhuri44
Forum Veteran
Forum Veteran
 
Posts: 2528
Joined: Wed Sep 20, 2006 10:53 pm
Location: Dundas

Re: Glyn Johns - different overheads?

Postby The Tasmanian » Sat Dec 10, 2011 12:39 pm

I love how these posts start with a simple boring topic/technique and naturally descend into great interesting discussions.
What I also find interesting (and painful) is how long music takes to evolve - must be some reflection on the mentality of mankind and how we are innately attuned to not changing - jazz & classical music, architecture,art and politics..etc

sort of a reflection of why we cant even get moving on the pollution/climate horror situation we are in.. everyone holds on to the past like a crutch - even the Glyn Johns method!
C h r i z t o w n o
The Tasmanian
Valued Contributor
Valued Contributor
 
Posts: 1877
Joined: Thu Nov 27, 2008 8:04 am
Location: Deep in the woods....

Re: Glyn Johns - different overheads?

Postby jkhuri44 » Sat Dec 10, 2011 12:52 pm

pretty sure change is hard as most artists are good at creating art that fits into a world which can be sold. So many artists outside the bounds of fame and recognition which are doing allll the right things, pushing all the boundaries, and are just confined to hermitude/neurotic artistic obsession.

how about trying a hydrophone as an overhead :P
Jamil Khuri
Amusement & Audio Engineer
"it's not awesome unless its 240bpm with distorted 909 kicks!"
jkhuri44
Forum Veteran
Forum Veteran
 
Posts: 2528
Joined: Wed Sep 20, 2006 10:53 pm
Location: Dundas

Next

Return to Recording Drums?

Who is online

Users browsing this forum: No registered users and 1 guest