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Appendices

Table of Contents:

  1. Harvard Reference Bibliography (Extended Project Proposal, Proposed Research Sources)
  2. The Glyn Johns Method (Research, Microphones – Recording Drums and Vocals)

1. Harvard Referenced Bibliography (Section 3, Extended Project Proposal)

YouTube. 2018. AURORA – Winter Bird – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=PYdm_Z1wnQ0. [Accessed 14 April 2018].

YouTube. 2018. Sigrid – Don’t Kill My Vibe – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=xzonQoON9eo. [Accessed 14 April 2018].

YouTube. 2018. Kate Bush – Running Up That Hill – Official Music Video – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=wp43OdtAAkM. [Accessed 14 April 2018].

Ansel Adams Gallery. 2018. The Ansel Adams Gallery. [ONLINE] Available at: http://www.anseladams.com. [Accessed 29 March 2018].

www.digital-photo-secrets.com. 2018. No page title. [ONLINE] Available at: http://www.digital-photo-secrets.com/tip/3631/soft-light-portrait-photography/. [Accessed 29 March 2018].

. 2018. The Director Behind Some of the Most Iconic Music Videos of the 2000s: An Interview With Dave Meyers – The Atlantic. [ONLINE] Available at: https://www.theatlantic.com/entertainment/archive/2017/08/the-art-and-business-of-making-music-videos/535254/. [Accessed 03 May 2018].

YouTube. 2018. 15 Dave Pensado Mix Tips Every Producer Should Know – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=7AqNUNrO690. [Accessed 03 May 2018].

YouTube. 2018. Part 2: Mic Placements | HOW TO RECORD DRUMS – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=PNC5CZMawRc. [Accessed 03 May 2018].

Music/Video: Anon, 2017. Music/Video: Histories, Aesthetics, Media. Bloomsbury Academic.

Experiencing Music Video: Aesthetics and Cultural Context: Vernallis, C., 2004. Experiencing Music Video: Aesthetics and Cultural Context. Columbia University Press.

I Want My MTV: The Uncensored Story of the Music Video Revolution: Marks, C., 2012. I Want My MTV: The Uncensored Story of the Music Video Revolution. Penguin Group (USA).

Billboard. 2018. Videos | Billboard. [ONLINE] Available at: http://www.billboard.com/videos. [Accessed 15 May 2018].

Digital Edition | Music Week. 2018. Digital Edition | Music Week. [ONLINE] Available at: http://www.musicweek.com/digital-edition. [Accessed 15 May 2018].

Clare Nordbruch | 2018 | Interview | 20th May

BRUCH ( Artist) | 2018 | Personal Video | 20th May

CA, J. (2018). Who Is Buying the Most Music? It’s Not Who You Think. [online] Spinditty. Available at: https://spinditty.com/industry/Who-is-Buying-the-Most-Music-Its-Not-Who-You-Think [Accessed 15 May 2018].

Daly, R. (2018). Watch every NME Awards Best Music Video winner throughout history. [online] Nme.com. Available at: http://www.nme.com/blogs/nme-awards/watch-every-nme-awards-best-music-video-winner-throughout-history-2219297 [Accessed 15 May 2018].


2. The Glyn Johns Method

(Information on this subject is derived from Recording Revolution. 2011)

Glyn Johns became famous for the signature drum sound he created for John Bonham on all the Led Zeppelin records, not to mention also working with The Who, The Rolling Stones and Eric Clapton.

He created a particular drum micing technique using only 4 microphones, producing a great kit sound with limited resources.

All that’s needed is two overhead microphones (large diaphragm condensers are recommended)-

‘Large-diaphragm microphones (LDMs) are most often the choice for studio vocals and any instrument recording where a deeper sound is desired. A large-diaphragm microphone warms up the sound of what it’s recording’ (Shambro, J. 2017)

– one kick mic and one snare mic. The big sound will come from the overheads, picking up the whole kit, while the snare and kick microphones will pick up what little is left out from the overheads alone.

One overhead is situated above the kit, with a bird’s eye view of the snare – the engineer would run through the kit with just this microphone at the beginning, to check for a clean balance between all of the elements of the kit, a whole sound. Then, when this is obtained, the second overhead microphone is added on the right side of the floor tom, pointed across the tom and towards the snare and hihat (reaching a different angle of the kit), about 6 inches up, and the same distance from the centre of the snare as Overhead #1. These two microphones must be the same distance from the same point on the snare to stay in phase with each other. Again, the engineer would run through the drums to check that these balance evenly.

finally, the engineer will add the kick and snare mics, with the snare a few inches from the rim and point across the snare head, and the kick close to the resonant head or inside the bass drum. These will pick up the rest of the sound, but it’s important to remember that both of these will already be picked up moderately by the two overheads.

The engineer can alter the angles of these mics for a dramatic change in sound and tone, depending of the style of the track.