The Drum Sound That Defined Rock Music
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- Опубліковано 4 чер 2024
- In this episode I discuss the mic'ing techniques and drum sound of legendary British producer and engineer Glyn Johns. This 3 (or 4) mic drum recording technique is associated with the sound of John Bonham and Keith Moon.
Producer, engineer, musician. Associated acts. The Rolling Stones, the Who, the Small Faces, the Faces, Johnny Hallyday, Led Zeppelin, the Beatles, Eagles, Fairport Convention, Eric Clapton, the Clash, New Model Army. Glyn Thomas Johns (born 15 February 1942) is an English musician, recording engineer and record producer.
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Would love to see more of these "recording secrets" or "lost arts of recording" videos. Thoroughly enjoyed this one.
I second that request! great stuff!
I agree!
Seriously!
Yes 'Fool in the rain' snares me every time..
I third that! Would love to hear more of these, please!
Hands down my favorite drum sound ever.
Thank you Rhett!
You Rock
I think it was miced that way on the Black Sabbath Paranoid album
Rick’s video making work ethic is incredible. He’s able to pump out quality content so consistently
I agree...Rick's work ethic should be copied by anyone who wants to get ahead.
That's the same picture I use as a contact photo for my boss. I called him a jackass one time and he said he was deeply offended. So I made it his contact photo.
Back in the day when only one 2" 24-track machine was available, keeping the number of tracks used by the drums to a minimum left more available for vocal doubling, guitar overdubs, bass, and keys. I had great results with 4 mics: a blumlein pair over the drummer's head, an SM57 on the snare bottom (also picking up a bit of hat), and a mic on the kick. I stood behind him, leaning over his head and listening to the sound, then went into the control room and shut my eyes and listened to the monitors. I went back and forth making small adjustments, until, with my eyes shut, I couldn't tell the difference. And I had 20 tracks left for other things. Nowadays nobody worries about how many tracks there are left, but sometimes less can still be more. I love that you are teaching the craft of recording Rick, keeping the techniques of the masters alive.
Absolutely, great sound makes all the difference, and will make or break the success of an artist! Phil Collins legendary drum sound, is another casing point.
I just recorded a band who wanted the Glyn Johns drum sound. We used:
-Shure Beta 52 Kick Mic $180
-Rode M5 Small-Diaphragm Condensers (pair) $200
-Shure SM57 $100
No separate preamps...right into a Focusrite 4-channel interface and used Focusrite’s plug-ins. Excellent sound. When we got it back from mastering, you would swear it was all professionally recorded.
Marc Kreienbrink Could you possibly provide a link to the song please? I’m interested to hear how it sounds!
"What makes this Sound Engineer Great?" Great series, mate: keep up the great work!
What about: "What makes this sound great"? Definitely a series I'd watch!
For anybody who was thinking “who’s Glyn Johns?”, thank you for doing this video. One of the greatest producers ever. His book was really entertaining. Really hope you can do a Who song for WMTSG. Awesome stuff! Thanks, Rick!
I second the Who for WMTSG.
Absolutely! I was NOT one of those saying who is that? LOLOL
Rick, have you unearthed the path to whitelisting for your channel as yet?
Third for The Who
Agreed. I would love to hear Rick break down "Love Reign O'er Me".
If you've helped done and recorded John Bonham alone, you are instantly legendary. Really awesome of you to bestow this kind of valuable knowledge that would have otherwise not have been learnt by many. Awesome work
Glyn Johns is still alive, let's use 'is' and not 'was' quite yet. :)
Very true! My apologies to Glyn!!
@@RickBeato I love listening to his interviews, I'm not a studio nerd, but I've been worshipping his recordings since the 70s as a kid. So many of my favorite records, and he shepherded them through. I've got his book but need to read it. He knows what's what!
Yeah, I remembered doing a search on him a couple of years ago and I thought he was still alive. I confirmed that he is alive and 78 years young as soon as I watched Rick’s video.
That’s right. It was his brother Andy Johns who passed away in 2013.
@@RatelHBadger Err, no. I think this is still used quote a bit - not in modern pop, but I'm using it for progressive rock and metal today. Love it.
Glyn Johns was the mastermind behind most of the earlier rock music that so many people love. Legend
Absolutely a Legend! The Faces and Humble Pie are some of the incredible albums produced by him.
Don't forget Martin Birch and Alan Parsons. Both legends.
Why was? He is alive
No doubt, Mr. Johns was and is a big time legend. All of those classic albums that Rick mentioned I have listened to for years and still have in my collection. Just think of all the legends Mr. Johns has worked with in the 60s and 70s. I would have done anything to have worked with Moon or Bonham or Charlie. He worked on two of my all time favorite albums in Led Zep 1 and Who’s Next. The drumming on both of these albums, I think is probably some of the best ever done in rock music.
It's all about capturing the feel of the music. Glyn found a great way to maximize the use of every microphone. People nowadays are spoiled with options, it's bugs me. If you come into my studio with that attitude you'll be leavin with a fat lip
Goddammit I love you Rick. Preserving all the great things about music when there doesn't even seem to be any soul left in the whole industry. Thank you.
KEITH MOON ❤️
Damn Rick that’s already my favorite video! I’m a guitarist but I’m really amazed by Keith Moon sound
Beautiful explanation of what makes the drums on those records so unique. It's an acoustic instrument, let it MOVE THAT AIR.
Thanks for keeping Glyn’s legacy going!
The cool thing about Bonham - even for us non drummers - is that there are about 15 zep songs you can solo the drum track and everybody knows instantly what the song is. No equal.
I've been recording drums like this for 30+ years. What amazes me is how many musicians will fight me about this setup. They have been taught that the more mics the better.
Rick, I'd love to hear this same type of analysis of Entwistle and Squire bass tones. Emphasis on the equipment they were using. Thanks!
The fascinating part is that this sounds great together. Producers like myself tend to work with isolatet samples, and even though the kick might sounds phatter, the entire beat does not nearly sounds as tight like when it is recorded like this. I really love these videos. Great source of knowledge that I will sure use the next time I get to record a proper drum set. Many thanks as always Rick
People really underestimate how much it improves things for the sounds to blend together a bit. Getting a bit of that room sound and getting things bleeding between different mic makes everything sound massive and powerful. There's a reason well mixed live albums can sound so much better than studio.
I know this isn't exactly the same thing, but I went through a phase maybe 10 years ago were I didn't play very much guitar, and just enjoyed making hip hop and electronic type beats. One trick I'd use for the drums, is I'd take a drum break ripped from a record (the amen break for example) and then double it by layering individual drum machine samples on top (say a Roland type sound for example). The drum machine would add punch and definition, but would sound empty on it's own, the drum break sample would fill and smooth it out, add a sense of depth and glue it all together. The key was blending it all together (with eq, etc.) and finding the right balance where it sounded seamless. The result was really 3D and natural.
Nothing defines a recording more than the sound of the drums. The seventies was the pinnacle of drum recording IMO. Intimate and warm drums that sat in the mix. Damped snares and toms with duct tape. Head off the kick with a pillow in it. Drum booths and foam on the walls at 15 ips. All with close micing and drummers who played with swing, groove and finesse. The objective was intimate warm drums that sat in the mix ... In the eighties everything changed. Hollow pingy snares and toms. Gated snares and high clicky kick drums all with highly reflective surfaces and tons of reverb. The drummers played much harder and were mixed louder for a big arena sized sound.
Yeah, recorded drums a few times and always wanted to try just 4 mics because 8 tracks are just impossible to sort out in a good way unless you're a guru. However I felt everyone just assumed that for the drums we are going to record wiuth all the mics we can find, lol. And I never felt secure enough to ask to try it - but this video was basically my vision. Less tracks-less wrongs-more complete sound - drums that feel compact/together but with bigger sound are some of the benefits I guess. Back to basics. After all, the goal is to get the best/most natural sound, right? Very cool video! Also surprised how great that snare sounded in that room which seemed to have just 4 flat walls? Maybe it has been mixed but it sounded great, no flutters into the other mics from the walls etc.
@@shadowspectrum Yup this is a great technique if you cannot record an entire drum set, I use it too! :)
I've been waiting for a Keith Moon (and of course The Who) video. Thanks Rick!
He didn't mention the most expensive piece of gear: that nice sounding room.
I was going to say the same, a dead room or a smaller one won't work as good as this, Rick has an amazing sounding room.
Mmmm.... ??? Go buy a bungalow that has an undeveloped basement and you got the same thing. Don’t make it sound like his room is something special that you can’t attain.
@@SpotWorksLNC It's even a bit poor on acoustic absorption in my opinion.
GET WITH TECHNOLOGY
the key is a tall ceiling for drums
I just want to tell you how much you
Are appreciated Rick! There’s no one like
You! And you have such knowledge and passion
For music!!
Masterful drum playing. Jack clearly has played a bit of Zep in his life 😎 Once you cranked those BAE pre's the sound was nailed. Another amazing video Rick!
Agreed. Great tip - crank that input gain! :)
Real great playing but doesn’t have that dirty groove. Then I don’t think anyone has it’s so unique what Bonzo does
Millmoor Michael You’re right. It was tight but didn’t have that undeniable groove. Bonzo was a master.
You present music history in a way unlike no other. This is my new favorite channel on youtube.
Bonham was one of a kind, incredible how easy is to recognize Zeppelin songs only by the drums.
Rick's advice at 12:40 is true no matter how you mic the kit. 90% of a drum sound comes from a great, internally balanced drummer and well tuned, good sounding drums. The remaining 10%, a great engineer, a good room, good mics & placement and good mic preamps.
Thank you for your work as a historian! Coming out of high school I had two music engineering teachers offered. The guy that was on the new wave of pro tools(early 00's) and they guy that recorded old school and taught mic placement and tuning/tone. Guess which I chose...
Technically Moonie may not be the best drummer but he was the craziest, most energetic, and fun drummer to watch. Watching Moonie perform was great. When I go to a concert I want excitement and to be entertained. That is one reason The Who is the greatest live band. Power, energy, volume that will crush your cranium.
Totally agree with that assessment of Moon. However, even as a youngster, I could not get past his erratic drumming on recordings. The guy couldn't go 2 measures without a fill...and not even always a good fill! lol But yes, live would have been a great experience.
I really enjoyed his drumming on records. Just fantastic. Fast. Hard charging. Never let up. Speed. Powerhouse. But really, Moonies facial expressions and attitude made millions want to become a drummer. When you think crazy rock star, Moonie comes to mind.
I think he was the real frontman of The Who. Lead drummer, lead bassist holding it together, scrappy rhythm guitar for ambience. Professional second frontman singing.
But moonie was captivating in every video I’ve ever seen of The Who. The ultimate frontman drummer.
Paul canary agree. I was lucky enough (and am old enough) to have seen the WHO a dozen times . ( once with Kenny J the rest with Moon). They have never been captured live on record. “Leeds” came a bit close). Their shows at Fillmore East were incredible. Their sound had this shimmering quality a curtain of sound that I think is impossible to convey on any recorded medium. It was stunningly beautiful hit you in the chest viscerally yet clear, clean to your ears just hard to describe. You heard them and you felt them. You really had to be there is no cliche. If I could go back.....
Nate Bauer Agree. No record ever captured what they delivered live. On record they were a good pop group. Live they were something beyond description.
Had the honor of meeting Glyn in the early
90’s when I was an intern at Ocean Way
Studios, Bon Jovi was in the next room on his way out of the studio Glyn asked him if he would
Come and listen to the tracks he produced
And Jon said yes, he sat and listened to the tracks
Glyn played for him and gave his opinion
Of course being very upbeat and supportive
Before leaving, miss those days!!!
That's an amazing book. I finished the audiobook version of it a couple weeks ago. I was never a Steve Miller fan, but I have a whole new respect for what they did after learning about how the albums came about
And never forget the great album Joan Armatrding “The album's producer, Glyn Johns , later said it was the best album he had ever been associated with”. It has Love and Affection on it. Gorgeous.
With Dave Mattacks and Kenny Jones playing on it, how could he lose?
@@chrisgately4358 Well we all know how GOOD a drummer Kenny Jones was! I mean he 'replaced' Moony in the Who!
Great stuff Rick. Between Glyn Johns and two incredible drummers, the legendary techniques live on. Thanks.
I learned this technique when I went to audio school (community college near me) and so much more enjoyed doing this then making things complicated.
Works for experienced and amateurs alike!
This was all before compression was used on drum kits I imagine. A true raw sound. Glyn was really amazing and was truly in the right place at the right time.
Townshend may not be the best guitarist, but his riffs and energy was great. Townshends showmanship like Moonie was top notch. Great music, great show, master blasters of rock. That is why you buy a rock concert ticket right? You would never fall asleep at a Who concert. It was an event.
I didn’t think Townshend was a good guitarist until I attempted to play some of his songs. Most of them are nuts with crazy Rhythm parts
@@zetandpeligaming Pete is a great guitarist, better than mist. Pete is a great singer songwriter, musician. Only equal to Paul Mc.
@@zetandpeligaming listen to How Ever Much I Booze. Master piece.
This has been my preferred method for my kit for some time now. I learned about John’s technique and quickly saw/heard why it is so good. I feel like it gives a unique representation of my Canopus kit. Roomy and big sounding with a tightness that works really well. I use a D112 on the kick, a Beta 57 on the snare and a matched pair Rode NT 1’s overhead and have never had a problem or complaint. Thanks as always for passing along this info, it is so important to maintain the traditional techniques used the greats of the past.
I recently listened to an older jazz album on UA-cam. The drummer was incredible and the first thing I noticed was how the producer mic'd the drum kit. It was recorded in a way that the drums were the star of the show but they did not drown out the rest of the band. Thank you Rick for teaching these things. It even helps us listen to songs in a more engaging way.
Congrats on another GREAT video. I really hope that you get enough funding to keep doing this. The fact that you are releasing all this invaluable content for free is just amazing.
Hands down the best channel on UA-cam. Thank you!
Drummer’s self-balancing is vital! In all situations!
What do you mean i have no dynamics? I'm playing as hard as I can!!
It’s called “musicianship”, unnecessary in the world of EZdrummer.
Many years ago I found myself wondering why getting a good rock drum on tape was so complicated, what with gates and multiple mics, tape, feminine hygiene products and pillows, but that Jazz guys all sounded good just in a room. Uh, yeah. This.
Perfect timing Rick. I just finished “sound man” his autobiography. What a read that was. ☮️💟
You are the man Rick that is so great that you're keeping this alive! We got to keep it going get more people involved!
Rick, I just found your channel a couple weeks ago and can’t stop watching your videos! There’s so much interesting and amazing information that you’re sharing, and it makes me appreciate all this music so much more. Thank you and keep it up!
So generous of you to share this recording technique. Thank you! It'd be great if you could also consider to cover other drums recording techniques used to record iconic drummers belonging to other music scenes ie reggae, funk, jazz... Thank you Rick for another amazing video! Keep on doing what you are doing!
The room is a massive part of that sound too. Your's sounds great.
out of all the channels im subscribed to i think this has become my favorite channel ...and this episode was exceptionally good ...thank you Rick Beato
Love Fool in the Rain drumming videos. Could watch them all day long. Keep them coming Rick.
Love seeing Rick pop up in the corner of my screen and distract me from my work. All the videos are interesting and I'll watch this, even though I don't know anything about drums ( except what Rick has taught me already).
Perfect, I've had issues with the studio owner about drum recording, now I got more knowledge to defend my way of recording lol
@@snapascrew Thank you, I will try that, working on trial and error. I and the studio owner disagree on lots of things because I am looking for a vintage sounding, allowing the imperfections to bring more character to the mix, going old school, dynamics, alive, with the quality of nowadays speakers, the goal is to the mix to sound like a live gig, to feel like you are there with the band.
8cordas go to a different studio then. Life is too short
@@AhrenField I live in a small town south brazil, not too many options, also with coronavirus outbreak in the nearby cities, it ain't simple. But I agree with you, unfortunately, my options are limited.
News for you, Rick, is that even a sound recording noob (me) can enjoy and be humbled by your videos. This one was gold, esp with the snippet of the man himself, in between.
A big shoutout to your friends/colleagues too.
I would so greatly love to see more of these videos coming Rick! You are the sole reason I've (re)started my music career
Do MORE of this type teaching - Priceless!!!!
Yes! Absolutely brilliant!
Great video! Led Zeppelin 1 is one of my favorite albums ever.
Thanks for this Rick. It's so important to recognize the innovators and those that influenced the sound of early records that so many of us love to this day. Your understanding of the industry, the technology, and the players is such a gift to the rest of us.
This vid is as close as I'll ever come to producing music yet I still loved viewing it. You're doing something right Rick!
God damn Rick is such a national treasure. You can tell he's so invested in keeping rock music alive and interesting for new generations. Amazing video as always.
Fewer microphones
No compression
Pay attention, y'all
The overdriven preamps actually act as compressors here. So do the tape machines they used back in the day instead of DAWs. It's just a very raw, direct kind of compression, basically with less than .1 ms for both the attack and release parameters. As a result, every single oscillation has its peak “compressed” / clipped, which a a side effect adds extra harmonic partials to the sound. That's this extra overdrive-grit, and as said in the video it adds more aggression. Specifically, and benefitially, it roughs up the loudest hits so they don't actually lose intensity like they would with a conventional compressor, whilst keeping the actual peak amplitudes in check.
Depends on the style and desired outcome for the drums. A few mics and no compression isn't going to work for heavier metal bands.
You've forgot to mention "no click track".
Drummers who know how to play
Drummers who not only possess technical ability, but also have groove and can play in the pocket
You forgot having a great room with $10k in sound shaping. Really, these guys were just getting what they could with what they had. We grew to like it over the decades. The current trend of close miking and doing everything digitally gives the producer and engineer more control.
Thanks so much for making this video Rick. Recording drums has always seemed like an enigma to me, so it's really nice to see this particular technique broken down so well.
Glyn Johns and the Decca Tree are two of my favorites that I’ve learned.
I’m still new to all this and have a ton of life experience to learn from.
Quadrophenia is one of the best mixed albums I've ever heard.
I agree...some magic happened there.
@@georgebarry8640 Not to take away from the amazing album that Quadrophenia was, but in the 60's and 70's virtually all music was mixed to be played over a transistor radio powered by a 9 volt battery. Delays, reverb, and any but minimal bass would cause so much clipping that the music would become unintelligible on a transistor radio. This was called "mixing for the little speaker."
In the studio, the gold standard monitor used for final mixdown was the Oratone, which simulated the little speaker. This is why all the 60's and 70's rock albums have nearly flat drums, and minimal bass.
Personally, I much prefer the 80's sound, after the introduction of the Walkman, and personal headphones, which opened up the full spectrum headroom on the retail market. The most distinctive difference was the sound of the snare, having a much more cinematic explosion character with a fuller fatter spectral signature (making it IMO much more exciting) rather than the flat trebley staccato of the earlier snare mixes.
Again, this was done to cater to the limitations of the equipment that the retail listener would be using. You could have had something that sounded amazing using a high end stereo, but would be unlistenable on a 9 volt powered player (or most car stereos of the day) due to the splatter of clipped bass sounds.
I notice that Rick isn't saying that the techniques used here are better than those of today, but rather that he feels it's important to preserve those earlier techniques for the sake of posterity. Framed in that narrow light, I wholeheartedly agree. However, IMO, compared to newer techniques, they sucked, but were a necessary evil because at the time they had no other choices. If you didn't mix for the little speaker, you didn't sell records, and the economy of scale of studio time was an order of magnitude more expensive than it is today.
@@scottmc2626 I can't get past the gated reverb snare of the '80s....
@@scottmc2626 Great points made. I agree. And Auratones are STILL in use today!
The two greatest rhythm sections of all time. (Lee and Peart 3rd)
Copeland and Sting?
Geezer and Bill?
Fab Silva
Probably in my top 5 !! Copeland is an animal but Sting just doesn’t bring it on bass like some of these other legends imo
Helium Road
I love Sabbath but I just don’t think their material is on par. I feel like Iommi kinda carries some songs on his own
@@domonicdecoco2410 I disagree. The albums without Ward sound very different, especially the last album, which really missed Ward's swingy feel. Furthermore I believe no guitarist can carry a band on his own; even Hendrix benefitted greatly from Mitch Mitchell's killer drumming. Guys like Malmsteen bore me to death.
That was genuinely fascinating on so many levels. Thank you for posting this.
Thanks Rick, this is a great tutorial about how that iconic drum sound was recorded. I am impressed with the balance and clarity between the drums and the cymbals with the recording setup you describe. Thanks for keeping this information alive!
I’d love to hear you interview Bun E Carlos. What a pocket!
Sorry to tell you but B. E. C. Passed away a few years ago , friend. Great pocket drummer though.
@@thelapgods7374 Bun E Carlos is still alive
ActualLiveMusic - I think Rick needs to bring all of Cheap Trick in for a studio session, but most certainly Bun E. Carlos! What an amazing drummer!
Yes! Bun E's drumming is sublime.
Hey Rick- This is great that you have alternate ways to include content concerning bands that tend to get blocked. That way us Classic Rock junkies still get our fix. I crave anything Led Zep, Beatles...etc. Check out the Beatles recording book...its hard to find and pricey but chock full of the recording techniques used at Abbey Road during that era.
Sir George Martin was unquestionably another genius studio auteur and similar to Johns, deserves those titles & accolades.
For anyone who doesn't know, he was the mastermind producer of the now-legendary "Beatles sound" that perhaps seemed simple to the average listener/fan, but had multiple, complex layers behind it, and that became the blueprint for so much of the Rock/pop music we hear to this day (though sadly, too often over-compressed 😩).
RIP to one of the greats !
PS - That Beatles book you're referencing, was it written by Martin, or a third party ?
And on 4 track machines!
I really liked the video. I really like this drum microphone technique. Because she captures the drummer's ambience making it sound fuller.
My dream is if one day I have a studio of this size to be able to record a drums like that.
Thanks a lot Rick, i love how the drums sound from records of that time, never imagined that was because of the recording process
"Making sure that drummer is not bashing the cymbals all the time".........unless the drummer's name is Keith Moon!
Or Carl Palmer or Bill Bruford or Terry Bozzio.
In “Light & Shade: Conversations With Jimmy Page,” Jimmy had all kinds of negative things to say about Glyn Johns. Here’s an excerpt:
“When we recorded ‘You Shook Me,’ I told the engineer, Glyn Johns, that I wanted to use backward echo on the end. He said, ‘Jimmy, it can’t be done.’ I said, ‘Yes, it can. I’ve already done it.’ Then he began arguing, so I said, ‘Look, I’m the producer. I’m going to tell you what to do, and just do it.’ So, he grudgingly did everything I told him to, and when we were finished he started refusing to push the fader up so we could hear the result. Finally, I had to scream, ‘Push the bloody fader up!’ And, lo and behold, the effect worked perfectly. When Glyn heard the result, he looked bloody ill. He just couldn’t accept that someone knew something that he didn’t-especially a musician.
“The funny thing is Glyn did the next Stones album, and what was on it? Backward echo! And I’m sure he took full credit for the effect.”
@Clark Hull "You Shook Me" was off Led Zeppelin I, if that's what you're inquiring about
@Clark Hull Btw, the track that Page was referring to where he did the reverse echo effect before was "Ten Little Indians" by the Yardbirds.
We all can learn something off somebody. A little humility goes a LONG way. It IS tough I imagine to work with so many legends and not get a bit of a big head though. Helps to keep your feet grounded and sometimes a little metaphoirical slap round the lug hole can do it. ha ah.
It's mentioned in Glyn's book. He gives Jimmy credit. He's actually really humble. Gives a lot of credit to other people. Owns up to the fact that he was an egomaniac and that he had to be put in his place numerous times. In his first encounter with the Eagles, he saw them live and wrote them off as terrible - it wasn't until he was forced to listen them again by some pushy friends of his that he realized how wrong he was.
Johns might not have not been as imaginative as Page in terms of creating weird sounds (Page had been a session player and probably logged 10 times as much studio time at that point in time) but Page doesn’t have a history of enhancing so many different bands’ best albums.
Thanks for the technique, examples, and lower cost equipment substitutions at the end. Keeping that RB knowledge alive!
Great video Rick! I became aware of this technique by reading an interview of Glyn's son Ethan, who recorded some of my favourite albums as well. Thanks for taking the time and laying it out for us.
I've always loved the Glyn Johns technique...…...two prime factors to success I've learned. ROOM.....gotta have a good sounding room that can exploit the minimal miking approach. I've tried it numerous times in small dead spaces, and it never really sounded good. Minimal miking almost always needs space/air for the drums to speak, imho. A small room can work, but it's not ideal.
The floor tom side mic.... Depending on where the crash or ride is placed on that side, cymbal "phasing" can be an issue.. One solution can be a modified approach with the Recorder man technique. It's basically the same thing except you raise the floor tom side mic up and back, how much depends on the situation.
......….as they say, there's many ways to cook a chicken ;:-)
BTW, that kit sounds glorious in your room!! :-)
You had me at "Who's Next!
Love the sound on that album.
Great vid, Rick. A history lesson and studio techniques all in one. Amazing how good the overheads sounded.
Love this vid! Great book and a great sound keep up the great work Mr Beato 👍🏼👍🏼👍🏼
RE: measuring the distances from the LD condenser mikes to the center of the snare drum - what I usually do is take my drumsticks while I'm sitting at the kit, and put them end to end like a yardstick. Two drumsticks end to end is a little under 3 feet. Then I just see about how much distance there is still left to go to each of the mikes by "pointing" my double stick measuring device at each one, with one end on the center of the snare. It's normally a foot or less. If the distances are pretty close to the same, I roll with it. Close enough.
That’s a good idea, I like it. Someone just showed me to use a mic cable and I was 🤯
@@jasongravely7217 It's simple and quick and plenty accurate and you don't knock anything over or destroy anything when you do it.
Rick you should do what makes this song great for the band HUM. Their drum sound is so in your face and well produced.. Plus your video might help bring them back a little bit because they are putting out a new album ...they’re very underrated in my opinion
Turd Grafx It is funny you mention Hum. I just listened to their You’d Prefer an Astronaut album (genius) and the follow up to it Downward is Heavenward is very good. This band should have been huge after the great song Stars. Here is hoping that they finally get their due with this album. Their sound was something to behold. A couple years ago I was listening to Howard one morning and he stated he was listening to some of the old musical performances on the show and he was still surprised that this band wasn’t huge after Stars. I still remember that in studio performance. They killed it that morning.
matt murdock Yep I agree I believe they came in at the wrong time soon as that genre of music was dying off they came in
Love that book. It's such a genuinely good look at what it was to be a music producer through the evolution of rock history, as well as a good look at the cultures through those ages.
The Glyn John's mic technique has also been my go-to whenever I have the privilege to record something. It doesn't just sound great, but I honestly think it helps promote better musicianship in drummers that are now more responsible for the balance of their kit.
Great video, and a massive thanks for promoting these methods. Love that you touched on his whole 'not measuring the overheads' thing, as I feel that gets wholly overlooked every time I've seen this technique brought up elsewhere
Your videos have been an ocean of fun and insightful entertainment! And your music production “behind the curtain” videos have been invaluable for me. Thanks for everything you do Rick!
Rick has more drum videos related to John Bonham than other drum videos
Bcoz John Bonham’s drumming is in the core of the rock drumming style for the last 50 years
Timur Shaipov You are so true. I personally flip flop between he and Moonie as my all time personal favorite drummer. Some days I listen to Zep 1 and I am like no doubt it is Bonzo then I listen to Who’s Next and I am like no it’s Moonie. Either one in their prime, I would start a rock band with and couldn’t go wrong. I chuckled when I read that JPJ said Bonzo loved the slower Motown tunes while Moonie loved the surfer, Beach Boys tunes.
Yes
Warm Crunch Productions There are other drummers?
I see no problem with that
As always, a masterclass of an education Rick. Thank you. Had no idea Ted Cruz could rail on drums
Rick, this is amazing stuff...for many in the music community, this may be elementary, but for most listeners, this adds great context to what we love and listen to. Thank you for putting this one out and the hands-on demo! Glyn Johns a legend.
This video took me back to the studio at uni as my tutors showed us this technique and made sure we understood it, and I used it for the recording of my final project. Great video as usual!
"I have two U47's here" *cries in US Dollars*
I know, I know. It's not about the gear. Just having a giggle.
NOTHING some Behringer C1's can't get reasonably close to!
@@DMSProduktions, are the Behringers really that great?
it looks just like a telefunken U47, you'll love it
With leather?
love ya rick
Rick, awesome videos. Thank you. I've been a recording engineer for about 22 solid years. I've used my own version of Glyn's mic arrangements and still use it to this very day. I purchased a church as my new recording studio and the sound is unbelievable. Thanks for pointing out the mic details. Cheers!
Rick, your channel is absolutely priceless. I can't thank you enough for sharing your depth and breadth of knowledge. And your passion and enjoyment of music is infectious!
That Royal Albert Hall footage is 1970, not 73.
Jack is a solid drummer. 99% of drummers cannot groove like that
99%? Lmao
Thanks for all the great videos Rick! Love what you do!
Daam Rick I can't imagine all the work, not only, but specially on this video you put. Absolute great work.
Rick...please do a Who WMTSG..Bargain would be amazing 😉
I second this. My first v favorite who song
“For the Led Zeppelin song I have the snare mic in there for some PRESENCE” ha. I got that joke.
Jajajajajaja, me too
ba-dum CRASH!
I don’t get it. I guess that’s nobody’s fault but mine.
misterpink95 and nobody’s fault but mine is a track off that album....
@@debvalle7466 underrated comment
Great video Rick! I did my research and used this technique to record drums for my band's last album a couple years ago. Wish I had seen this video first because Rick always drops more knowledge on us that you can't find anywhere else on UA-cam. Thanks for the lesson and showcasing the greatness of Glyn Johns!
great video Rick. expanded my vocabulary on mic drums setup. really cool to know this stuff. thanks a lot.
Bonham, died from an overdose of alcohol. Moon, died of an overdose of a medication used to treat alcohol withdrawal symptoms. The lesson for drummers,...tipple in moderation.
Bonham didn't die from the overdose. Passed out drunk amd laying on his back, he threw up and asphyxiated on his own vomit.
Love Keith moon! Great video! 1st?!
Thanks a lot for this video, it's way better than all other videos about this technique and you gave me a real reason to try it out next time i record
I don't even play music any longer and I love your videos. You've brought an entire new layer to the music I love too listen to. Thanks, Rick
In my opinion, the top two drummers in terms of "sonic distinctiveness" are John Bonham and Alex Van Halen. Their sound is truly unique. And Roger Taylor has the most unique-sounding cymbal chokes.
When you think of crazy rock and rollers, their lifestyle, their music, you automatically think Keith Moon and The Who.
Amazing episode!! Thanks Rick, Jack, and Ken!!
Thank you for this Rick! As a young producer/engineer myself I can attest to the fact that our generation often lacks in mic’ing techniques. Everything has moved into the box and it’s just not as necessary anymore. I myself love moving mics around and trying new things. That’s one of the reasons I chose to get into this.