A fun combo is ribbon (i use royer r10 or a GAP R1) in front of the kick, a foot or two away, and a 7B as an overhead. Somewhere between the Eric Valentine placement and behind the shoulder… takes some fiddling but the result can be great!
This is great, gonna try it with my Beta52 on the kick and my AKG414 on top. Otherwise I use my Sm81s but those are too thin, mostly cymbals. My Presonus fire studio won’t sync anymore to my 2014 MacBook Pro so I think the fuse is blown or it’s done for good, I replaced the cable even, it’s discontinued so now I gotta probably upgrade 😩
I really love the stereo image of Glyn Johns technique, especially with the mic more behind the floor tom (it sounds more balanced with the mic there). But what is really annoying with Glyn Johns is that you get a strange wobbling/ phasing caused by the ride cymbal, especially when played harder/ crashed, when the ride moves up and down. Over shoulder sounds very natural imho, but it's very uncommon for the drummer and gives a strange feeling. And it isn't fail safe, stick contact with the mic possible 😬 .
Yeah with any of these setups having a drummer who plays really well balanced is a must. That cymbal wobble is absolutely tricky. Ofcourse the Glyn Johns technique was developed in an age where drummers weren’t playing as loud as these days.
@@whitenoisestudio, not sure about heavy hitters. Think of Ian Paice, John Bonham, Keith Moon, Bill Ward, even Buddy Rich didn't treat his kit like a pet 😸 .
@philipbaum5929 Glyn Johns discovered the technique on the early stones records, it’s described in great detail in his bio. Also the kits, cymbals and skins of that early age had a lower volume than these days. Don’t think Keith moon used Glyn Johns, kit is too big for that.
@@whitenoisestudio, drums and cymbals where often big back in the days. There were already a lot of drummers that hit hard. Afaik Bonham had his drums recorded with a technique similar GJ. Could work better maybe because his set had 2 ft, so the distance from ft2 to his ride was bigger?
Nice video…I only have 2 money pres and API/Great River with an Apogee Rosetta 200. I have considered using a cheap interface to Spdif in and get more channels…but from hearing this and researching for what I need. Mostly doing Indie rock…it seems using this method and focusing on good mics is a better pay off. I have a 57 and a SM7B. But a good condenser OH may be well more worth it, and the 57 or SM7B for the snare high hat area. Be that or buy more mics, a cheap 4 channel interface with Spdif to get my good conversion and pres going…that all adds up to a LOT of money using less than stellar gear but with 2 great studio quality channels. To me it makes more sense to experiment with the 2 mic technique, and upgrade a mic for now. Sounds like I would keep quality, over quantity plus loads more money by the end vs close micing everything. I’ve been had great results as crazy as this sound. Recording on an iPhone in stereo, then converting it to midi in Abelton. That way I can sample replace, and keep the room sound. Thinking of doing this same two mic, but with the API pres/Rosetta 2 mic and then midi conversion to fill in say a close kick or whatever else. Software has come very far, and to me the overheads and capturing the whole kit is great way to go if mixing with samples as well. Other would be get a cheap Yamaha or whatever mixer, and run it stereo with a mic kit. But you get one chance and have to mix it in the moment. I’ve racked my brain to get my current two channel studio setup to work with drums, but learned its best to try what you have first and then make small decisions and changes as you go. I’m going to save this video and try it tomorrow! If it doesn’t go well, guess buy a Rosetta 800, sell my 200 and get a decent mixer with good pres to pipe in and build from there. I just never needed more than 2 good channels, until I started back drum recently.
@@whitenoisestudio I actually have been looking at a Beyerdynamic M160 ribbon mic. And doing the Eric Valentine thing maybe. For his home stuff he has that one mic in front the kit. And then a second mic for the low end. That’s it and he gets a great sound. I don’t have any experience with that mic, but Sweetwater has a good return policy. Also the Cascade or now Pinnacle Fatheads pair for $650ish look interesting. From videos I’ve seen of those pair on overheads no close mics, it captures the full kit pretty well. Thoughts on that mic, and the fatheads?
We're you using kick and overhead mics for every set up? I'm currently only able to use two mics (Tascam) untill I can afford an 8 channel interface (for computer). I have a 7pc set (plus a second snare mic for my second snare). So maybe I'll experiment. I'm not digging how my overhead/kick is coming out. Of course, I am in a large garage also.
💜 6 Best Mics For Kickdrum Comparison - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Zfst_2WdSHk.html Do you have any other 2 mic drumrecording techniques? Let me know!
@@whitenoisestudio thank you for responding. I used recorderman similar to Eric Valentine. Unfortunately I only have 2 dynamic vocal microphones. Perhaps I should stick with programming digital drums?
Will definitely use some of these techniques! I am experimenting with two Dynamic Omnis..one between the snare and hat, the other between the rack tom and floor tom, all very close. Any body mess with that setup before?
You are correct! The dynamic omnis are EV 635a's which have a frequency response of 80hz-13000hz. The lack of high frequency brilliance sort of mimics the ribbon mics and their close positioning, basically 'within' the drum set, keeps the punch while still keeping them slightly to the rear of sound stage because of the rolling off of the highs. Looking to emulate the retro jazz vibe. But for sure needs the addition of a kick mic to add some modern bite!!@@whitenoisestudio
yeah not even modern bite, but just to have it somewhat more audible ;-) i just did a free jazz / improv recording where I recorded the drummer with 3 overheads and an extra mic for the kick, about 30 cm in front of the resonant head. Also added an extra mic under the floor tom for some extra low end. Everything was nicely balanced out like that.
