Greta Van Fleet – Anthem Of The Peaceful Army

Used on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

The core of the drum sound came from a pair of Neumann U67 valve mics in 'Glyn Johns' formation: one above the snare and the other near the floor tom.

(...) "I take the Glyn Johns setup as my basis, with an overhead and a side mic equidistant from the snare — I use two drum sticks to measure the distance. I used to use two Mesanovic M2 ribbons for this, but now use two Neumann U67 mics. In addition, my kick mic is the AKG D36, and my snare mics are the Shure SM57 and Neumann Gefell M300, held together by an X clip. I have a mic pointing at the side of the snare which often is called the 'wurst mic' [a term coined by German engineer Moses Schneider for a saturated lo-fi drum mic that delivers a sausage-shaped waveform — Ed.]. I used to use the Neumann UM57 for that, but now it's the Sennheiser MD441. It's really pointy and effected-sounding, and technically you can use that mic for your entire drum sound. My room mics are two Mesonovic ribbons, in a Blumlein setup. All drum mics went through the API, straight into Pro Tools."

Used on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

(...) "I take the Glyn Johns setup as my basis, with an overhead and a side mic equidistant from the snare — I use two drum sticks to measure the distance. I used to use two Mesanovic M2 ribbons for this, but now use two Neumann U67 mics. In addition, my kick mic is the AKG D36, and my snare mics are the Shure SM57 and Neumann Gefell M300, held together by an X clip. I have a mic pointing at the side of the snare which often is called the 'wurst mic' [a term coined by German engineer Moses Schneider for a saturated lo-fi drum mic that delivers a sausage-shaped waveform — Ed.]. I used to use the Neumann UM57 for that, but now it's the Sennheiser MD441. It's really pointy and effected-sounding, and technically you can use that mic for your entire drum sound. My room mics are two Mesonovic ribbons, in a Blumlein setup. All drum mics went through the API, straight into Pro Tools."

Used on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

(...) "I take the Glyn Johns setup as my basis, with an overhead and a side mic equidistant from the snare — I use two drum sticks to measure the distance. I used to use two Mesanovic M2 ribbons for this, but now use two Neumann U67 mics. In addition, my kick mic is the AKG D36, and my snare mics are the Shure SM57 and Neumann Gefell M300, held together by an X clip. I have a mic pointing at the side of the snare which often is called the 'wurst mic' [a term coined by German engineer Moses Schneider for a saturated lo-fi drum mic that delivers a sausage-shaped waveform — Ed.]. I used to use the Neumann UM57 for that, but now it's the Sennheiser MD441. It's really pointy and effected-sounding, and technically you can use that mic for your entire drum sound. My room mics are two Mesonovic ribbons, in a Blumlein setup. All drum mics went through the API, straight into Pro Tools."

Used on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

(...) "I take the Glyn Johns setup as my basis, with an overhead and a side mic equidistant from the snare — I use two drum sticks to measure the distance. I used to use two Mesanovic M2 ribbons for this, but now use two Neumann U67 mics. In addition, my kick mic is the AKG D36, and my snare mics are the Shure SM57 and Neumann Gefell M300, held together by an X clip. I have a mic pointing at the side of the snare which often is called the 'wurst mic' [a term coined by German engineer Moses Schneider for a saturated lo-fi drum mic that delivers a sausage-shaped waveform — Ed.]. I used to use the Neumann UM57 for that, but now it's the Sennheiser MD441. It's really pointy and effected-sounding, and technically you can use that mic for your entire drum sound. My room mics are two Mesonovic ribbons, in a Blumlein setup. All drum mics went through the API, straight into Pro Tools."

Used on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

(...) "I take the Glyn Johns setup as my basis, with an overhead and a side mic equidistant from the snare — I use two drum sticks to measure the distance. I used to use two Mesanovic M2 ribbons for this, but now use two Neumann U67 mics. In addition, my kick mic is the AKG D36, and my snare mics are the Shure SM57 and Neumann Gefell M300, held together by an X clip. I have a mic pointing at the side of the snare which often is called the 'wurst mic' [a term coined by German engineer Moses Schneider for a saturated lo-fi drum mic that delivers a sausage-shaped waveform — Ed.]. I used to use the Neumann UM57 for that, but now it's the Sennheiser MD441. It's really pointy and effected-sounding, and technically you can use that mic for your entire drum sound. My room mics are two Mesonovic ribbons, in a Blumlein setup. All drum mics went through the API, straight into Pro Tools."

Used on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

(...) "I take the Glyn Johns setup as my basis, with an overhead and a side mic equidistant from the snare — I use two drum sticks to measure the distance. I used to use two Mesanovic M2 ribbons for this, but now use two Neumann U67 mics. In addition, my kick mic is the AKG D36, and my snare mics are the Shure SM57 and Neumann Gefell M300, held together by an X clip. I have a mic pointing at the side of the snare which often is called the 'wurst mic' [a term coined by German engineer Moses Schneider for a saturated lo-fi drum mic that delivers a sausage-shaped waveform — Ed.]. I used to use the Neumann UM57 for that, but now it's the Sennheiser MD441. It's really pointy and effected-sounding, and technically you can use that mic for your entire drum sound. My room mics are two Mesonovic ribbons, in a Blumlein setup. All drum mics went through the API, straight into Pro Tools."

Used on the tom for some of Anthem of the Peaceful Army, including "When the Curtain Falls" and "Lover Leaver", as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"I used to send the toms through a BBE 442 to give them more attack, but that piece of kit recently died, so on some tracks, like 'Lover Leaver', I instead tried the SPL Transient Designer plug-in to do the same thing."

In this Instagram post Daniel Wagner, from Greta Van Fleet is using a Ludwig Classic Maple 3-Piece Fab Shell Pack, in red sparkle. He recorded Anthem of the Peaceful Army, From the Fires and a new upcoming album called The Battle At Gardens Gate with this type of drums.

Jake Kiszka uses a 1959 Martin D-28 as his primary guitar for studio work on "Anthem of the Peaceful Army," as noted in Premier Guitar by Tessa Jeffers.

Jake Kiszka used a 1966 Fender Telecaster in Lake Placid Blue, owned by Blackbird Studios, during the recording of Greta Van Fleet's "Anthem of the Peaceful Army." This information is detailed in Tessa Jeffers' article on Premier Guitar.

Used on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"With regards to electric guitars, we usually had several amps set up, like an AC30 and a Marshall, or Marshall clone, and I tended to have a U67 on one and a U87 on the other cabinet, placed straight on the centre of the speaker. Sometimes I'd use a Sony C37 or a Shure SM57. All the guitar mics also went through the API desk, but I sent the bass through the Acme Audio MTP-66 pre and DI."

Used on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"With regards to electric guitars, we usually had several amps set up, like an AC30 and a Marshall, or Marshall clone, and I tended to have a U67 on one and a U87 on the other cabinet, placed straight on the centre of the speaker. Sometimes I'd use a Sony C37 or a Shure SM57. All the guitar mics also went through the API desk, but I sent the bass through the Acme Audio MTP-66 pre and DI."

Used on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"With regards to electric guitars, we usually had several amps set up, like an AC30 and a Marshall, or Marshall clone, and I tended to have a U67 on one and a U87 on the other cabinet, placed straight on the centre of the speaker. Sometimes I'd use a Sony C37 or a Shure SM57. All the guitar mics also went through the API desk, but I sent the bass through the Acme Audio MTP-66 pre and DI."

Used on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"With regards to electric guitars, we usually had several amps set up, like an AC30 and a Marshall, or Marshall clone, and I tended to have a U67 on one and a U87 on the other cabinet, placed straight on the centre of the speaker. Sometimes I'd use a Sony C37 or a Shure SM57. All the guitar mics also went through the API desk, but I sent the bass through the Acme Audio MTP-66 pre and DI."

Used for vocals on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"We set up at Blackbird with the drums in the centre of the main room. Sam and Jake were in the same space, but their amps were isolated. Sam also had a full keyboard rig set up, with a piano, B3, Wurlitzer and Fender Rhodes, and so on, which mostly were overdubbed. But he played the B3 and bass pedals live during the tracking of 'Age Of Man'. There's no bass guitar in that song. Josh was in an iso booth with a Neumann U67. We recorded the acoustic in the same booth."

(...) "As I mentioned earlier, I recorded lead vocals with the U67, but did not send that through the API. Like for the bass I instead used the Acme Audio MTP?66 pre, and then a Neve 33609 for some compression and an Original Motown EQ if EQ was needed. MTP stands for Motown Tube Direct Preamp, and the Acme is a unit that I built, and sell. Motown used to have a small, five-channel input box, called the Motown Five Channel Guitar Direct Amplifier, that's coveted by tons of people, and the Acme is a single-channel version of that, with a mic pre added. I got all the schematics from Mike McLean, who was the chief maintenance engineer at Motown during the 1960s, and who did a great job in designing it. You can hear it on all Motown stuff, particularly guitars and bass from 1966 on. The Acme MTP?66 is all-tube, and the preamp sounds really open, with a classic fixed-gain design on the mic pre and DI."

Used for vocals on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"As I mentioned earlier, I recorded lead vocals with the U67, but did not send that through the API. Like for the bass I instead used the Acme Audio MTP?66 pre, and then a Neve 33609 for some compression and an Original Motown EQ if EQ was needed. MTP stands for Motown Tube Direct Preamp, and the Acme is a unit that I built, and sell. Motown used to have a small, five-channel input box, called the Motown Five Channel Guitar Direct Amplifier, that's coveted by tons of people, and the Acme is a single-channel version of that, with a mic pre added. I got all the schematics from Mike McLean, who was the chief maintenance engineer at Motown during the 1960s, and who did a great job in designing it. You can hear it on all Motown stuff, particularly guitars and bass from 1966 on. The Acme MTP?66 is all-tube, and the preamp sounds really open, with a classic fixed-gain design on the mic pre and DI."

Used for vocals on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

(...) "As I mentioned earlier, I recorded lead vocals with the U67, but did not send that through the API. Like for the bass I instead used the Acme Audio MTP?66 pre, and then a Neve 33609 for some compression and an Original Motown EQ if EQ was needed. MTP stands for Motown Tube Direct Preamp, and the Acme is a unit that I built, and sell. Motown used to have a small, five-channel input box, called the Motown Five Channel Guitar Direct Amplifier, that's coveted by tons of people, and the Acme is a single-channel version of that, with a mic pre added. I got all the schematics from Mike McLean, who was the chief maintenance engineer at Motown during the 1960s, and who did a great job in designing it. You can hear it on all Motown stuff, particularly guitars and bass from 1966 on. The Acme MTP?66 is all-tube, and the preamp sounds really open, with a classic fixed-gain design on the mic pre and DI."

Used for vocals on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"As I mentioned earlier, I recorded lead vocals with the U67, but did not send that through the API. Like for the bass I instead used the Acme Audio MTP?66 pre, and then a Neve 33609 for some compression and an Original Motown EQ if EQ was needed. MTP stands for Motown Tube Direct Preamp, and the Acme is a unit that I built, and sell. Motown used to have a small, five-channel input box, called the Motown Five Channel Guitar Direct Amplifier, that's coveted by tons of people, and the Acme is a single-channel version of that, with a mic pre added. I got all the schematics from Mike McLean, who was the chief maintenance engineer at Motown during the 1960s, and who did a great job in designing it. You can hear it on all Motown stuff, particularly guitars and bass from 1966 on. The Acme MTP?66 is all-tube, and the preamp sounds really open, with a classic fixed-gain design on the mic pre and DI."

Used on some of the vocals for Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"For vocal reverb I use the Echoplate 2 [plate reverb] with a Delta Labs Effectron II for pre-delay, and depending on the song either a Lexicon Primetime II or Fulltone Echoplex for slap-back delay."

Used on some of the vocals for Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"For vocal reverb I use the Echoplate 2 [plate reverb] with a Delta Labs Effectron II for pre-delay, and depending on the song either a Lexicon Primetime II or Fulltone Echoplex for slap-back delay."

Used for the bass and the B3 on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"I recorded the bass DI, and the bass cabinet with a Neumann FET 47 mic. I miked the B3 Leslie with a U87 at the top, and a Neumann FET 47 at the bottom, and I had used a DI for the small vintage guitar amp we used for the other keyboards."

Used for the B3 on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"I recorded the bass DI, and the bass cabinet with a Neumann FET 47 mic. I miked the B3 Leslie with a U87 at the top, and a Neumann FET 47 at the bottom, and I had used a DI for the small vintage guitar amp we used for the other keyboards."

Used for the bass on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"All the guitar mics also went through the API desk, but I sent the bass through the Acme Audio MTP?66 pre and DI."

"Sam Kiszka's main axe is still his green Fender P bass with a Jazz bass neck. This bass stays strung with D'Addario flatwounds, .050–.105"