Andy Johns Engineering Tips

1. Why does he put lead solos to one side of the mix?

So that they don't clash with the majority of instruments in the centre of the stereo field

Because his mixes are always lob-sided

He puts lead solos to one side of the mix to prevent them from clashing with the majority of instruments in the center of the stereo field. By doing so, he ensures that the lead solos have their own space and can be heard clearly without competing with other instruments for attention. This technique helps to create a balanced and well-defined mix where each element has its own place in the stereo image.

Explanation

He puts lead solos to one side of the mix to prevent them from clashing with the majority of instruments in the center of the stereo field. By doing so, he ensures that the lead solos have their own space and can be heard clearly without competing with other instruments for attention. This technique helps to create a balanced and well-defined mix where each element has its own place in the stereo image.

2. Why does Andy like to keep his drum sound 'centralised' in the mix?

Because he has not worked out what pan does.

Because live drums sound too diffuse.

To mask all the other sounds

Andy likes to keep his drum sound 'centralised' in the mix because when listening to drums live, there is no wide panning in the sound. This allows him to place the other sounds in the mix effectively.

Explanation

Andy likes to keep his drum sound 'centralised' in the mix because when listening to drums live, there is no wide panning in the sound. This allows him to place the other sounds in the mix effectively.

3. When does Andy suggest using room (ambience) mics on guitars?

During sparse, slower sections of songs, where the guitar needs to occupy a lot of space.

All the time in fast paced songs

Never use them as they cloud up the mix

Room (ambience) mics are suggested to be used on guitars during sparse, slower sections of songs where the guitar needs to occupy a lot of space. This is because during these sections, the guitar may sound too dry and lack depth. By using room mics, the natural reverb and ambience of the room can be captured, adding a sense of depth and space to the guitar sound. However, it is not recommended to use them all the time in fast-paced songs as they can cloud up the mix and make it sound muddy.

Explanation

Room (ambience) mics are suggested to be used on guitars during sparse, slower sections of songs where the guitar needs to occupy a lot of space. This is because during these sections, the guitar may sound too dry and lack depth. By using room mics, the natural reverb and ambience of the room can be captured, adding a sense of depth and space to the guitar sound. However, it is not recommended to use them all the time in fast-paced songs as they can cloud up the mix and make it sound muddy.

4. How does he mic a guitar amplifier as to negate having to find the 'Sweet spot'?

Using a Ribbon mic

Using a Decca Tree configuration

Employing Binaural recording - A Neumann KN Dummy head 4 feet away from the speaker

The correct answer suggests using two SM57 mics on a speaker. One mic is positioned at a 45-degree angle to capture the warmth and bass of the guitar amplifier, while the other mic is placed straight on to pick up the brightness. This technique allows for a balanced and comprehensive capture of the guitar amplifier's sound, eliminating the need to find the "sweet spot" where the sound is optimal.

Explanation

The correct answer suggests using two SM57 mics on a speaker. One mic is positioned at a 45-degree angle to capture the warmth and bass of the guitar amplifier, while the other mic is placed straight on to pick up the brightness. This technique allows for a balanced and comprehensive capture of the guitar amplifier's sound, eliminating the need to find the "sweet spot" where the sound is optimal.

5. The drums are described as providing the 'Hi-Fi' element to a recording. How does he suggest bringing this out?

Adding some 'Air' (10 - 12KHz)

Heavily compressing them

Cutting the volume of the kick drum

Making the snare louder than the vocals

To bring out the 'Hi-Fi' element in the drums, the suggestion is to add some 'Air' in the frequency range of 10 - 12KHz. This means boosting the high frequencies in that range, which can enhance the clarity and brightness of the drums in the recording. By doing so, the drums will have a more crisp and detailed sound, contributing to the overall quality of the recording.

Explanation

To bring out the 'Hi-Fi' element in the drums, the suggestion is to add some 'Air' in the frequency range of 10 - 12KHz. This means boosting the high frequencies in that range, which can enhance the clarity and brightness of the drums in the recording. By doing so, the drums will have a more crisp and detailed sound, contributing to the overall quality of the recording.

6. The Led Zeppelin song 'When the Levee breaks' is noted for its excellent drum sound. How was this achieved?

Using many close microphones with no compression

Using a single dynamic mic positioned in front of the kit

Using 2 Ribbon mics positioned a distance away from the kit and the signals heavily compressed.

Utilising a single 'Soundfield' mic

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Explanation

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7. How can you create a little space for the vocals at mix down?

Turn all the other sounds down using the vocals to trigger the side-chain of the guitar compression

Use a long plate reverb with a 100ms pre-delay

Use a phase effect

Adding a 28ms short ADT delay to the vocals will create a little space for them at mix down. This delay will help thicken the vocals, making them stand out more in the mix. Additionally, adding a longer delay of 300ms or more will mimic the effect of reverb without muddying the sound. This combination of short and long delays allows the vocals to have a sense of space and depth without overpowering the other elements in the mix.

Explanation

Adding a 28ms short ADT delay to the vocals will create a little space for them at mix down. This delay will help thicken the vocals, making them stand out more in the mix. Additionally, adding a longer delay of 300ms or more will mimic the effect of reverb without muddying the sound. This combination of short and long delays allows the vocals to have a sense of space and depth without overpowering the other elements in the mix.

8. When producing vocals when should compression be used?

At both the record and mix stage

At mix stage only

At the mastering phase

Don't use at all

Andy suggests to record vocals with a little compression to aid Intelligibility.

Explanation

Andy suggests to record vocals with a little compression to aid Intelligibility.

9. When mixing, Andy will sometimes put a compressor then an EQ over the entire mix. Why must it be in that order?

EQ only works with a strong input signal

If EQ then compressor, boosting bass will cause the compressor to over act, ruining the mix

An EQ would reduce the dynamic range, preventing the compressor from functioning properly

Boosting the bass with an EQ before applying a compressor can cause the compressor to overreact, resulting in an unbalanced and distorted mix. Compressors work by reducing the dynamic range, which is the difference between the loudest and softest parts of the audio. If the bass frequencies are boosted before compression, they will become louder and may trigger the compressor excessively, causing it to squash the entire mix and lose its natural dynamics. Therefore, it is important to apply EQ before compression to ensure that the compressor acts in a controlled and balanced manner.

Explanation

Boosting the bass with an EQ before applying a compressor can cause the compressor to overreact, resulting in an unbalanced and distorted mix. Compressors work by reducing the dynamic range, which is the difference between the loudest and softest parts of the audio. If the bass frequencies are boosted before compression, they will become louder and may trigger the compressor excessively, causing it to squash the entire mix and lose its natural dynamics. Therefore, it is important to apply EQ before compression to ensure that the compressor acts in a controlled and balanced manner.

10. When recording bass guitar, Andy uses a combination of an AKG C414 mic and a DI. How does he tackle phase problems between the 2?

Mutes the DI

Mutes the mic

Gates the DI by triggering it from the mic channel using the gate's Key input

Pulls the mic back about 4 feet

By pulling the mic back about 4 feet, Andy is effectively changing the phase relationship between the mic and the DI. This helps in minimizing phase cancellation issues that can occur when recording the bass guitar with both a mic and a DI simultaneously. Adjusting the distance between the mic and the DI allows for a better blend of the two signals, resulting in a more balanced and cohesive sound.

Explanation

By pulling the mic back about 4 feet, Andy is effectively changing the phase relationship between the mic and the DI. This helps in minimizing phase cancellation issues that can occur when recording the bass guitar with both a mic and a DI simultaneously. Adjusting the distance between the mic and the DI allows for a better blend of the two signals, resulting in a more balanced and cohesive sound.

11. What doe he suggest boosting using the over all mix EQ?

250Hz for increased muddiness

50Hz for weight

10 KHz for Air

5KHz for Intelligibility

160 Hz for s**ts and giggles

The correct answer suggests boosting the 10 KHz frequency using the overall mix EQ in order to add more "air" to the sound. Boosting this frequency can enhance the high-end clarity and brightness, giving the audio a more open and spacious feel.

Explanation

The correct answer suggests boosting the 10 KHz frequency using the overall mix EQ in order to add more "air" to the sound. Boosting this frequency can enhance the high-end clarity and brightness, giving the audio a more open and spacious feel.

12. For a 'dead sounding' kit, suitable for pop what is employed to deaden the snare during recording?

Moon gel

Toilet tissue

A tea towel

A snare ring

Electrical tape

A tea towel is employed to deaden the snare during recording to achieve a 'dead sounding' kit suitable for pop music. The thick fabric of a tea towel can be placed on top of the snare drum to muffle the sound and reduce the sustain, resulting in a less resonant and more controlled snare sound. This technique is commonly used in pop music production to create a tighter and more focused drum sound.

Explanation

A tea towel is employed to deaden the snare during recording to achieve a 'dead sounding' kit suitable for pop music. The thick fabric of a tea towel can be placed on top of the snare drum to muffle the sound and reduce the sustain, resulting in a less resonant and more controlled snare sound. This technique is commonly used in pop music production to create a tighter and more focused drum sound.

13. Which type of reverb does he favour on drums?

Non-linear (gated)

Plate

Spring

Hall

Ambience

The preferred type of reverb on drums is non-linear (gated). Non-linear reverb, also known as gated reverb, is characterized by its sharp and abrupt decay. It creates a unique effect where the reverb is cut off abruptly after a certain threshold, resulting in a more pronounced and punchy sound. This type of reverb is commonly used in genres like rock and pop to add impact and definition to drum sounds.

Explanation

The preferred type of reverb on drums is non-linear (gated). Non-linear reverb, also known as gated reverb, is characterized by its sharp and abrupt decay. It creates a unique effect where the reverb is cut off abruptly after a certain threshold, resulting in a more pronounced and punchy sound. This type of reverb is commonly used in genres like rock and pop to add impact and definition to drum sounds.