The 44 soloed was a great sound. It really brought it all together. Fantastic sounds. That position reminded me of the Tchad Blake one mic method, which I used once due to only having one track available. That’s what the 44 reminded me of. Great job!

I just love those drums.

Man what a great project. Just Wow! Giant sound!! Bam!!!

Sounds great!

Love it Ryan! My opinion is its a great variation of Glynn Johns. A step up!

you really did get a great drum sound in this one, great playing too!

i like a glyn johns in a super dry or very controlled room, if u mess around with the floor tom mic enough until u get the low end decent then it can be really effective and the image of the drum kit also has a bit of a different flavour which can be nice. Good vid as always.

It's all about that RCA 44, really fills out the drum sound imo.

daaayyummm. sounding killer as always! love this! super funky band too! I also love those fills the drummer is doing :D yewww :)

you are awesome dude ! Thanks for the tips !

Beautiful video!

Nice video! If you have a drummer who knows how to balance his kit, this works great. Then again any technique will yield great results with a great drummer playing a well tuned kit. We should all be so fortunate!

Very cool dude. Keep on!

Love the sound too and love how you explain and kick in the different mics in your videos. Reminds me on my experiments with the recorderman technique. Do you have any thoughts an that?

Plenty of good bleed !! Sounds awsome !!

Nice one Ryan - cheers from Montreal!

Saxophone man is baked!!

Dig the drum sound. We used the Glyn Johns drum mic technique here a bunch because we’re short on channels and it was always a different sound every time. Like what you did here

I think they worked perfectly! Very natural sounding. Do you make any of the files available for us entry level mixers?

I've been thinking for a while about mixing the Glyn Johns and Fat Mic techniques. Happy to see it worked out like I imagined

Greetings from rhodes greece. Great stuff once more . Cheers

Great content.

You gotta funked in the head to even be capable of dreaming up this one! (gong is hit, I am yanked off stage by a cane) Dude's doing straight rimshots. I mean cracks, rim-and-center-together-shots (I may have just invented a bar drink).... I slant the snare toward me to avoid accidentally doing that, just because I can't do it consistently unless I'm playing a basic beat at like 60 bpm ..... but that's a good way to get snare out front, with or without close mics. I have done this weird sort of tilted Glyn Johns thing with my OH's, basically you just take the whole setup and rotate it a few degrees so the hat side is slightly over to the drummer's left and the ride side is slightly up (actual mics rotated as well, so they are still pointed at the center of the snare). I only move each mic about 4-6 inches up or over from where it would be with a Glyn Johns. I've found that the results are almost as good in the ways that the Glyn Johns technique is good, and then also better for the ways that Glyn Johns can be problematic, like a drummer who hits the ride too hard and sends it wobbling or a hat that has too much low mid clunk. It's a good tradeoff in my opinion, but I should disclaim, these opinions are those of an assclown with blue hair who makes bad jokes at every opportunity, and therefor should be taken VERY SERIOUSLY AND FOLLOWED TO THE LETTER!!!!!!!!!!

Man that low tom sounds fantastic.

Not only did you end up with a good sound, it was a very complementary sound for the track. The track has a very natural, jam-session feel, and the more organic drums you achieved with the Glyn Johns are perfect for this. A ‘clean’ close-mic sound would’ve been too straight laced. (Imagine if Bonham had been recorded on like 17 modern mics!! Ughhhh) Goes to show that there is no one good drum sound, it depends on context. I’m not a studio scientist, but your videos always get me thinking! Thanks for doing what you do.

sounds great! i love to use a darker mic/sound to kind of thicken up the drums. in my smallish space, i'll set a condenser on omni in my bathroom and it get's pretty much a pure room sound, all air, no direct drums. in a mix, it sounds huge!

Most people who post about this technique suggest very careful measurements, including the distance between the two mics being equal to the distance each is from the center of the snare. Then you watch Glyn demonstrate the technique, and he's very casual about mic placement. "Approximately" is good enough.

So thick. That's a very great sound.

Sounds great! Really seems to fit the mix and the music. The drums sound round and warm, but they still have enough punch and energy. The cymbals sound dry, but I'm guessing it's because they are. All the musicians sound great too! I imagine that really helps.

Sounds great, thank you! By the way, what is the name of the song they are playing? Would love to hear the final version

That mic added a ton of flavor to the kit. Yeah it’s not distinctly the Glyn Johns by the book method but the whole way he came up with his thing was accident! I’d almost argue that mic makes more of a difference than having a snare mic and almost would go in favor of using the extra channel (out of 4) for the 44 instead. Super cool

It sounded great, everything was really full. Did you try adding a tad of top end o the overheads to bring out the cymbals a touch more? Either way it was round, full and had lots of character. I have done this before but mine was only 4 mics. I think that 5th mic really brought it all together.

How do you do the gain staging when the microphones used are different? I mean in general not only for this technique.

Every time I’ve tried the Glyn Johns it’s never really worked for me, unless I really wanted it to sound very low budget diy type production. But this really seems to work especially with this particular band.

OMG the RCA mate thanks for thisssssssssss

Channel count is always an issue with live recording but yeah it sounds great! Thanks Ryan.

I think it sounds great. I've never been able to get such a full sound with just overheads. I have SDC and MDC, but no ribbons. I think this worked well with your Mic choice.

Cool post ! The darker mikes help cymbal ‘wash’

sounds good

I use a similar mic set up a lot. Not the mics you're using though. ( that floor tom needs some tweaking. Lol. crazy low end overtone) Good work!

It sounds great man.,and worked well with the band. The standalone RCA was no bad either. I like the hybrid setups. My room is very tiny so I have space pair overheads and close mics and a room mic

I love it! I've really wanted to try to implement this style of engineering in any future drum videos I make, and your reverse engineering method gives me some amount of hope that it won't be a giant waste of time on my end. Your decision to throw a room mic into the mix was great, and also something I'll try to adopt. Forgive me if you've covered/mentioned this before, but have you ever worked with Oktava MK-219 Condenser mics before? My goal is to use two as overheads / Glyn Johns set up, and two as room mics. I'm just curious if your experience would point you one way or another in that regard...

How are you getting so much of the kick in just the overheads?? sounds amazing!

I've used Glyn Johns method for many recordings, all styles of music. This is going to sound mad... I one used a similar positional set up to what you have done. For my "fat added " sound on a 4pc kit. I used AT4040 for the FT mic, AT 4040 for the overhead, A SM57 for snare (top), Audix D4 centered in the BD hole, and yet another AT 4040 placed a touch further back in the ride/BD crease. I got a great sound. It was of course initially a test of the At4040, but one dialed in I was shocked. (this set up was not used in a big room or with other band components playing in the room. Give er a try see what you think. Cheers

I use Glyn Johns alot. I agree with small condensers, I´ve almost stopped using them. With ribbons, preferably Coles 4038 I think GJ is great for most session, at least more acoustic sessions like jazz or indie.

I wonder, what is the sonic effect of the green circles?

What's the name of the band could you show a link.

To my ear that floor tom is really resonating alot. Maybe just a bit of muting needed? Is this a better sounding set up than just close micing the kit now that you're using 5 mics?

Would it be too bold to use a sub-mixer to mic the kit and send sub-groups for a smaller channel count? Like a 16ch Mackie for all the drums and sum those down to 8, 4, or just a stereo mix to record? Too bold? :)

What mic do you have on the kick? Sounds incredible.

got some phase cancellation there...snare disappears with the rca

To me a GJ technique + a snare mic is the way to go since I always find the focus of a snare disappearing a bit with only 3 mics.

0 dislikes says it all. Great job!

Sounds amazing dude! Thanks for the vid, wish I could afford £4k on a mic like that :))))

The RCA sounds amazing

Sounded great. I've found Glyn Johns so hit and miss, but I'm not sure why. Sometimes it's amazing, sometimes not and that's with the same set-up. Sorry, but I missed what the overhead mic was in your set-up?

The miracle is the amount of isolation between instruments. Must be a pretty dead room? No gobos and fewer condensers I guess helps.

What are the mics being used on the brass?

I know I already said this, but thank you!

Can you use small diaphragm mics instead of large ?

I might change my mind on this, but I thought the drum sound became a bit too full for that kind of music with the fifth microphone. I also thought the two mics sounded awesome on their own, more in the vein of recordings made prior to 16-track recording, before everything slowly started to revolve around "ballsy" sound, which I often find boring. The fullnes and oomph takes away some of the sense of space and that everybody's in the same room. An analogy would be to film a band performance using only close-ups. Turning down that fullness pushes the drums a bit back in the picture, so that they sit in between the other musicians instead of kind of being front and center. And that's not related to the volume itself. Edit: Good God it's hard to write anything cohesive in this heatwav. Tried to edit my text for clarity.

phat!

apologies if you said/wrote it somewhere already, but what is the name of this band?

If you prefer blumlein, why not use it?

Is the low Tom supposed to be that intense? Seems real intense to me.

I thought the idea with Glyn Johns was to establish a foundation tone and then add/subtract/move mics to taste.

💜💜💜💜💜💜

JAH RASTAFARI

I'll be moving to east Tennessee soon...I have a 48 channel Harrison Series 10 B...I will have a decent space...I'd be interested in collaboration...lemme know if you'd be interested...!!!

That drummer only ever learned the one fill, hey?

the way i see it is: Glyn Johns is just asymmetric overheads..

Hey there, I was reading this online and thought of you. It's about decoupling mic stands and even cables from a floor with overheads. Here is the link. Could be a cool video. www.gearslutz.com/board/high-end/543423-mic-stand-question-high-end-guys.html

Nerds

SECOND!

You've basically got the Recorderman setup here

What's funky about this?

... man that really sounded great. loved how the 44 filled out the sound .. perhaps with your compression? it really seemed to not just make the drums sound huge .. but i feel also gave a bit of glue to the kit over all. .. i think nowadays there is less use for a traditional Glyn Johns technique .. .. would most likely depend on the room your working in to start. I as well use a variant of his starting point and love the results always. how many channels are you tied to in your studio? i'm capped at 16.. :^),