Andy Johns Engineering Tips
He has worked with many rock luminaries, including Led Zeppelin.
- 1.Why does Andy like to keep his drum sound 'centralised' in the mix?
- A.
Because he has not worked out what pan does.
- B.
Because live drums sound too diffuse.
- C.
Listening to drums live, there is no wide panning in the sound. It allows you to place the other sounds in the mix.
- D.
To mask all the other sounds
- 2.The drums are described as providing the 'Hi-Fi' element to a recording. How does he suggest bringing this out?
- A.
Adding some 'Air' (10 - 12KHz)
- B.
Heavily compressing them
- C.
Cutting the volume of the kick drum
- D.
Making the snare louder than the vocals
- 3.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?
- A.
Mutes the DI
- B.
Mutes the mic
- C.
Gates the DI by triggering it from the mic channel using the gate's Key input
- D.
Pulls the mic back about 4 feet
- 4.How does he mic a guitar amplifier as to negate having to find the 'Sweet spot'?
- A.
Using a Ribbon mic
- B.
Using 2 SM57 mics on a speaker. One pointing at a 45 degree angle to capture the warmth/bass. Another pointing straight on to pick up the brightness.
- C.
Using a Decca Tree configuration
- D.
Employing Binaural recording - A Neumann KN Dummy head 4 feet away from the speaker
- 5.When producing vocals when should compression be used?
- A.
At both the record and mix stage
- B.
At mix stage only
- C.
At the mastering phase
- D.
Don't use at all
- 6.How can you create a little space for the vocals at mix down?
- A.
Turn all the other sounds down using the vocals to trigger the side-chain of the guitar compression
- B.
Add a 28ms short ADT delay to thicken them and a longer 300ms+ to mimic reverb without clouding the sound
- C.
Use a long plate reverb with a 100ms pre-delay
- D.
Use a phase effect
- 7.Why does he put lead solos to one side of the mix?
- A.
So that they don't clash with the majority of instruments in the centre of the stereo field
- B.
Because his mixes are always lob-sided
- 8.When does Andy suggest using room (ambience) mics on guitars?
- A.
During sparse, slower sections of songs, where the guitar needs to occupy a lot of space.
- B.
All the time in fast paced songs
- C.
Never use them as they cloud up the mix
- 9.When mixing, Andy will sometimes put a compressor then an EQ over the entire mix. Why must it be in that order?
- A.
EQ only works with a strong input signal
- B.
If EQ then compressor, boosting bass will cause the compressor to over act, ruining the mix
- C.
An EQ would reduce the dynamic range, preventing the compressor from functioning properly
- 10.What doe he suggest boosting using the over all mix EQ?
- A.
250Hz for increased muddiness
- B.
50Hz for weight
- C.
10 KHz for Air
- D.
5KHz for Intelligibility
- E.
160 Hz for s**ts and giggles
- 11.For a 'dead sounding' kit, suitable for pop what is employed to deaden the snare during recording?
- A.
Moon gel
- B.
Toilet tissue
- C.
A tea towel
- D.
A snare ring
- E.
Electrical tape
- 12.Which type of reverb does he favour on drums?
- A.
Non-linear (gated)
- B.
Plate
- C.
Spring
- D.
Hall
- E.
Ambience
- 13.The Led Zeppelin song 'When the Levee breaks' is noted for its excellent drum sound. How was this achieved?
- A.
Using many close microphones with no compression
- B.
Using a single dynamic mic positioned in front of the kit
- C.
Using 2 Ribbon mics positioned a distance away from the kit and the signals heavily compressed.
- D.
Utilising a single 'Soundfield' mic
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