ABBEY ROAD 70s DRUMMER

Recreating the sound of an era is not just a question of EQ or effects. Only by using the instruments, the recording equipment and the techniques of the period is it possible to capture the distinctive sound.

For example: The Glyn Johns mic setup. This technique was pioneered during the 70s and used extensively ever since. It’s provided here as part of the Open Kit — read more below.

Other snare articulations include center hits, halfway hits, rimshot, flam, roll and others. Drums were recorded in up to 34 velocity layers, with up to six alternative hits (round robins) per drum.

Recorded in Abbey Road Studio 2

Kick: Ludwig Vistalite Kick
Snare 1: 14" x 6.5" Ludwig Supra-Phonic 402 Chrome Snare
Snare 2: 14" x 5" Premier 2000 Snare
Hihat: 70s Paiste Vintage Hihat
Rack Tom: 14" Ludwig Vistalite Rack Tom
Hi Floor Tom: 16" Ludwig Vistalite Floor Tom
Low Floor Tom: 18" Ludwig Vistalite Tequila Sunrise Floor Tom
Cymbals: 70s Paiste 2002 High Crash, Mid Crash, Low Crash and Ride

Also recorded in Studio 2, but with acoustic panels set up around the kit for an up-close, precise sound.

Kick: 22" Premier Kick
Snare 1: 14" x 6.5" Ludwig Black Beauty Snare
Snare 2: 14" x 5" Maple Shell Snare
Hihat: 70s Zildjian Vintage Hihat
High Rack Tom: 13" Premier Rack Tom
Low Rack Tom: 14" Premier Rack Tom
Floor Tom: 16" Premier Floor Tom
Cymbals: 70s Zildjian High Crash, Low Crash, Pang, and Ride

ABBEY ROAD | 70s DRUMS were recorded using an EMI TG MKIII mixing console and 16-track analog 2-inch tape machine using 1970s professional Dolby Noise Reduction and Ampex 456 tape.

Each kit was recorded with an array of microphones including classic Neumann®, AKG® and Beyerdynamic® models from the studio's vast microphone collection – one of the largest in the world. The individual direct and room microphone signals are all separately adjustable - giving you detailed control of the overall sound.


Detailed specs about recording equipment

Included with the Ludwig kit is an alternative mic set up pioneered and named after one of the great recording engineers, Glyn Johns. He has worked with a stellar array of artists, including the Rolling Stones, The Beatles, Bob Dylan, The Clash, Led Zeppelin and The Who; but is also famous for developing a simple yet highly effective drum micing technique.

Using just two overheads, one snare and one bass drum microphone, the Glyn Johns method achieves an open, live and realistic sound, which allows the character of the studio space to shine through.