The name "Glyn Johns" holds a revered place among the pantheon of legendary engineers and producers. Known for his impeccable ear and innovative techniques, there’s a high probability you will have listened to a Glyn John’s produced track. Johns has left a huge mark on the recordings of some of the most iconic artists of our time, from the Rolling Stones and The Who to Led Zeppelin and The Eagles.
At the heart of Johns' acclaimed approach lies the "Glyn Johns Method," a groundbreaking technique for capturing the essence of a drum kit with remarkable clarity and depth.
The Glyn Johns Method is a renowned technique for recording the drums using a minimal microphone setup making it ideal for both professionals and beginners. Developed by the acclaimed producer and engineer himself, this approach eschews the traditional close-miking of individual drum components in favor of a more holistic, ambient-driven sound.
At the core of the Glyn Johns Method are three to four strategically placed microphones, each serving a specific purpose in the overall sonic landscape. The setup typically includes:
By carefully positioning these microphones and ensuring proper phase coherence, the Glyn Johns Method aims to create a cohesive, ambient-rich drum sound that retains the energy and dynamics of a live performance.
Mastering the Glyn Johns Method requires a keen understanding of microphone placement and a meticulous attention to detail. Here's a step-by-step guide to help you achieve the signature Glyn Johns drum sound:
Start by placing the first overhead microphone 40 to 60 inches directly above the snare drum. This microphone should be pointed straight down, capturing a balanced and comprehensive image of the entire drum kit.
The second overhead microphone should be positioned approximately 6 inches above the floor tom, facing towards the snare drum and hi-hat at 90 degrees. This "side-fill" microphone provides a fresh perspective on the kit, complementing the primary overhead.
Achieving the right phase relationship between the two overhead microphones is crucial to the Glyn Johns Method. The distance from the snare drum to each overhead microphone must be precisely measured and adjusted to ensure the sounds from both mics arrive at the same time.
In order to ensure proper phase coherence, your first and second overhead microphones should be exactly the same distance from the drums they are pointing at: so both overhead microphones should be the same distance from the centre of the snare drum. Use a tape measure to ensure this.
What is phase coherence? Phase coherence is the relationship between two or more microphone signals on the same sound source is known as phase coherence. It is sometimes referred to as signal timing, and the idea is for the signals to coincide so that they can function as a unit. Phase differences have the potential to complicate and cause issues with the combined signal.
Select a dynamic or condenser microphone and position it in or near the kick drum port. Experiment with the placement to find the perfect balance of low-end punch and clarity.
Place a dynamic microphone, 2 to 3 inches above the snare drum, angled down towards the centre. This spot mic can be used to enhance the snare's presence and characteristics so experiment with angles and distances from the centre.
The Glyn Johns Method offers a range of benefits and potential drawbacks that producers and engineers should consider when selecting their approach to drum recording.
The Glyn Johns Method is particularly well-suited for recording vintage-inspired rock, pop, and blues genres, where an ambient, punchy drum sound is highly desirable. The technique can also be effective in capturing the essence of indie and folk-influenced drum performances, where a more natural and organic drum sound is preferred.
However, the Glyn Johns Method may not be the optimal choice for genres that require highly processed, heavily manipulated drum tones, such as modern metal, electronic, or hip-hop. In these cases, a more traditional close-miking approach may be more appropriate to achieve the desired sonic character.
Ultimately, the decision to use the Glyn Johns Method should be based on the specific needs of the project, the musical style, the drummer's skill level, and the available recording environment. Experienced producers and engineers may find the Glyn Johns Method a valuable tool in their arsenal, while those seeking more control over individual drum elements may prefer alternative techniques.
The Glyn Johns Method relies on a carefully curated selection of microphones to capture the essence of the drum kit. While the specific models can vary, there are some tried-and-true options that have proven to be particularly well-suited for this technique.
For the overhead microphones, large-diaphragm condenser microphones are the preferred choice. The Beyerdynamic M160 ribbon microphone is a popular option, offering rich clarity and excellent transient response. Alternatively, high-quality large-diaphragm condensers, such as the Neumann U87 or the Shure KSM44A, can also work exceptionally well.
For the kick drum, both dynamic and condenser microphones can be used effectively. The AKG D112 or the Audix D6 are excellent dynamic options that provide a powerful, low-end-focused sound. Alternatively, a condenser microphone like the Shure Beta 52A can also be a suitable choice.
The Shure SM57 is a classic and versatile dynamic microphone that has long been a go-to choice for capturing the snare drum in the Glyn Johns Method. Its robust construction, reliable performance, and well-balanced frequency response make it an ideal match for this technique.
Now let’s properly introduce the man behind the method.
Johns' journey in the music industry began in the 1960s, when he worked as a recording studio engineer at IBC Studios in London. It was during this time that he was called upon to rescue The Beatles' troubled "Get Back" sessions, compiling several versions of the album that were ultimately rejected by the band before handing the project over to producer Phil Spector.
Johns' keen ear and innovative approach to recording soon earned him a reputation as a master of his craft. His ability to capture the raw energy and essence of a live performance led to his involvement with some of the most influential rock and pop acts of the era. He produced landmark albums such as The Who's "Live at Leeds," Traffic's "John Barleycorn Must Die," and Led Zeppelin's "Led Zeppelin II," among others.
Throughout his illustrious career, Glyn Johns has worked with a diverse array of artists, including the Rolling Stones, Eric Clapton, The Eagles, Steve Miller Band, The Clash, and many more. His ability to capture the essence of a musical performance, combined with his technical expertise and creative vision, has cemented his status as one of the most influential figures in the history of music production.
While the Glyn Johns Method has become a revered technique in the world of drum recording, there are several alternative approaches that engineers and producers may consider, depending on the specific needs of their projects.
These techniques rely on the use of a single microphone, often a large-diaphragm condenser, placed strategically above the drum kit to capture a cohesive, ambient-driven sound. The microphone is typically positioned 4 to 8 feet above the drummer's head, pointed downward to create a balanced, natural representation of the entire kit.
Employing a pair of microphones, these techniques leverage the principles of stereo recording to create a more expansive and immersive drum sound. Options include the "Wide Stereo Overhead Mics," the "Stereo X-Y" configuration, and the "Head Baffle" technique, each offering its own unique sonic characteristics.
These approaches incorporate three microphones: one overhead condenser, one dynamic microphone for the snare, and one for the kick drum. The "Kick, Snare, and Overhead" technique is a popular example, providing a balanced blend of close-miked elements and ambient capture.
Building upon the triple microphone setup, these techniques add a fourth microphone, often positioned as a second overhead or a dedicated snare drum mic. The "XY, Kick & Snare" configuration is a well-known example, offering enhanced control and flexibility in the final drum mix.
Considered by some as a more modern alternative to the Glyn Johns Method, the Recorderman Technique utilizes two cardioid microphones positioned in a specific geometric configuration to capture the drums. This approach aims to address some of the potential phase issues that can arise with the traditional Glyn Johns setup.
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