Panning: Glyn Johns + 2 close miced toms
Panning: Glyn Johns + 2 close miced toms
Greetings. I've got some tracks recorded with the "Glyn Johns" setup for overheads but also close mics on the toms (yes, I know, the technique was developed to conserve tracks/mics but that's just how the guy recorded it). I'm doing 10:00 and 4:00 on the overheads and I've been panning the close mics by ear. But is there a standard practice to preserve phase relationships and produce a clear stereo image? They're lower down in the mix but they do add nice punch on fills.
Thanks!
Thanks!
- A.David.MacKinnon
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- A.David.MacKinnon
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- Nick Sevilla
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Hi,
The only "standard", is:
"if it sounds good, it is good" - Duke Ellington.
So, if one of the mics makes the whole sound like crap, mute it.
If two microphones are doing nasty phase issues, and you only really need one of them to make the good sound, then mute the other one.
There are no rules really, other than to make sure it sounds good.
The only "standard", is:
"if it sounds good, it is good" - Duke Ellington.
So, if one of the mics makes the whole sound like crap, mute it.
If two microphones are doing nasty phase issues, and you only really need one of them to make the good sound, then mute the other one.
There are no rules really, other than to make sure it sounds good.
Howling at the neighbors. Hoping they have more mic cables.
I did close mic'ing and GJ for a while and ended up just muting the tom mics and falling back on the GJ it sounds so much better, in my normal situation. The other week I had another drummer in and he was so cymbal heavy, I was like, damn, needs to be close mic'd, so I guess it's always situation dependent.
I have a friend who swears the key to GJ is using a dynamic on the floor tom mic.
I have a friend who swears the key to GJ is using a dynamic on the floor tom mic.
The previous statement is from a guy who records his own, and other projects for fun. No money is made.
Thanks everyone. I've been getting creative. Mostly overheads, but the close mics with no overheads (except for a distant room mic) have also been useful for a section where the drummer is playing with mallets. Speaking of which -- mallets on toms are really hard to get clear, punchy and authoritative in a full band mix!
- A.David.MacKinnon
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- Gregg Juke
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>>>>"if it sounds good, it is good" - Duke Ellington.<<<<
I thought that was Joe Meek(?).
GJ
I thought that was Joe Meek(?).
GJ
Gregg Juke
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http://MightyNoStars.com
"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
Nocturnal Productions Music Group
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"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
- Gregg Juke
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Kinda like "Dancing about Architecture."
Mine is "Painting about Parenting."
GJ
Mine is "Painting about Parenting."
GJ
Gregg Juke
Nocturnal Productions Music Group
Drum! Magazine Contributor
http://MightyNoStars.com
"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
Nocturnal Productions Music Group
Drum! Magazine Contributor
http://MightyNoStars.com
"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
- Nick Sevilla
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Duke started that nonsense long before Meek was probably even around LOL.Gregg Juke wrote:>>>>"if it sounds good, it is good" - Duke Ellington.<<<<
I thought that was Joe Meek(?).
GJ
Some attribute it to Steve Albini, so at least we're a few decades before that mistake.
Howling at the neighbors. Hoping they have more mic cables.
- losthighway
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A more laborious approach would be to listen to the floor tom on just the overhead and consider if anything's missing. It could be just a little lo-mid, or possibly smack/attack/stick missing. In either case you could try doing some strong cutting, low and or high pass filters on the close tom mic, leaving mainly the missing frequency you're looking for and only putting in as much level from that close mic as you need.
Also you could try scooting the floor tom track/visually aligning it to see if it clears up your image/phase stuff.
ALL of this could easily be tail chasing, but I think it's worth the 15 minutes of muting, un-muting, scrunching up your nose.
One thing I almost always do with any tom track that has any issues is automate it so that it's mostly gone outside of the tom hits.
The other, other thing, is sometimes you can get away with putting a little bump to boost a frequency on the overhead to get what you want out of a drum, without changing the cymbal sound too drastically, at least if it's not boosting really high mids, or treble. This seems inevitable in a lot of minimal mic'ing situations. I figure those Dap Tone guys have to do it sometimes
Also you could try scooting the floor tom track/visually aligning it to see if it clears up your image/phase stuff.
ALL of this could easily be tail chasing, but I think it's worth the 15 minutes of muting, un-muting, scrunching up your nose.
One thing I almost always do with any tom track that has any issues is automate it so that it's mostly gone outside of the tom hits.
The other, other thing, is sometimes you can get away with putting a little bump to boost a frequency on the overhead to get what you want out of a drum, without changing the cymbal sound too drastically, at least if it's not boosting really high mids, or treble. This seems inevitable in a lot of minimal mic'ing situations. I figure those Dap Tone guys have to do it sometimes
- A.David.MacKinnon
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Tell me about it! The kit should probably be tuned for mallets. I don't know if that'd help but I fight it every time so I figure it's likely the source. Room mics make a big difference. Aggressive parallel compression at mix time also helps. Sometime I even run a distortion pedal in parallel. It make everything sit better.JES wrote:mallets on toms are really hard to get clear, punchy and authoritative in a full band mix!
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