Cody Casey
The Glyn Johns Method is a groundbreaking technique for recording drums, developed by the renowned producer and engineer himself. It involves a minimal microphone setup, typically using three or four microphones, to achieve a cohesive, ambient-rich, and punchy drum sound. The key to this method is the strategic placement of the microphones to capture the essence of the drum kit with remarkable clarity and depth. This technique has been used by legendary artists such as Led Zeppelin, The Rolling Stones, and The Beatles, and continues to be a favourite among recording engineers.
| Characteristics | Values |
|---|---|
| Number of Microphones | 3 or 4 |
| Microphone Placement | 1 mono overhead mic, 1 kick drum mic, 1 snare mic, and 1 side-fill mic |
| Overhead Microphone Distance | 40-60 inches directly above the snare |
| Overhead Microphone Angle | Facing straight down at the kit |
| Second Overhead Microphone | 6 inches above the rim of the floor tom, facing the snare and hi-hat |
| Kick Drum Microphone | Placed near the kick drum for low-end punch |
| Snare Drum Microphone | Dynamic microphone focused on the snare drum for clarity and presence |
| Phase Coherence | Achieved by ensuring the same distance between overhead mics and the snare drum |
| Sound | Ambient-rich, punchy, and cohesive |
| Genre | Suits a range of genres, especially softer rock or blues |
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What You'll Learn
Positioning the first overhead mic
The Glyn Johns Method is a technique for recording drums that uses three or four microphones, including one overhead microphone. This method is highly sensitive to the drummer's technique and the acoustic properties of the recording environment.
To position the first overhead mic, follow these steps:
Firstly, the microphone should be placed 40 to 60 inches directly above the snare drum, which is the centre of the kit. It should be pointing straight down at the kit, capturing a balanced and comprehensive image of the entire drum kit. This includes a blend of snare, toms, and cymbals. The angle may need to be adjusted depending on the sound you want to achieve. For example, if the cymbals are too harsh, you may need to adjust the angle to reduce their prominence.
Secondly, the first overhead mic should be positioned at an equal distance from the snare drum as the side mic to form a triangular pattern with the snare, side mic, and overhead mic as its points. This ensures that the sound is balanced and that no direction is overly dominant.
Thirdly, it is important to ensure that the first overhead mic is in phase with the other microphones. Phase is crucial to the Glyn Johns Method, and if the microphones are not positioned correctly, phase cancellation can occur, leading to a thin or unbalanced drum sound. To achieve proper phase coherence, the first and second overhead microphones should be the same distance from the drums they are pointing at.
Finally, the Glyn Johns Method is particularly well-suited for recording vintage-inspired rock, pop, and blues genres, where an ambient, punchy drum sound is desired.
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Placing the second overhead mic
The Glyn Johns Method is a renowned technique for recording drums, using a minimal microphone setup, making it ideal for both professionals and beginners. It involves placing the second overhead microphone just to the right of the floor tom, approximately 6 inches above the rim. This microphone should be facing straight across the tom towards the snare and hi-hat, with the capsule perpendicular to the first microphone.
To ensure the best sound, the second overhead microphone should be the same distance from the centre of the snare drum as the first microphone. This can be achieved by using a tape measure. The microphones should also be positioned so that they are facing the drummer on their right side.
The Glyn Johns Method is a unique approach to recording drums, often referred to as the "Glyn Johns Method" or the "Recorderman technique". It typically employs three or four microphones: one hoisted several feet overhead for a natural perspective, a kick drum microphone, and a snare drum microphone.
The key to this method is to keep both the side microphone and the overhead microphone equally distanced from the snare drum, forming a triangular pattern with the snare, side microphone, and overhead microphone as the points. This technique is excellent for capturing the essence of a drum kit with remarkable clarity and depth, and it is often used for softer rock or blues music.
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Positioning the kick drum mic
The Glyn Johns Method is a renowned technique for recording drums using a minimal microphone setup, making it ideal for both professionals and beginners. The setup typically includes three or four microphones: one or two overhead microphones, a kick drum microphone, and sometimes an additional snare drum microphone.
The kick drum microphone, in particular, plays a crucial role in providing the low-end punch and definition of the drum kit. Here are some detailed instructions on positioning the kick drum microphone when employing the Glyn Johns Method:
The kick drum microphone is typically placed near the kick drum to capture the low-end frequencies and enhance the overall punch of the drum kit. It is often placed in the port hole of the kick drum or close to the skin. Adjusting the distance of the microphone from the centre of the drum allows for varying degrees of "beefiness" in the sound. Moving the microphone closer to the centre increases the bass response, while pulling it away reduces the bass and increases the attack.
Phase Coherence:
Phase coherence is critical when positioning the kick drum microphone. The relationship between the kick drum microphone and the overhead microphones will impact the overall sound. The kick drum microphone should be positioned so that its signal is in phase with the overhead microphones, ensuring a cohesive and well-defined drum sound.
Panning:
When it comes to panning, the kick drum microphone is typically panned to the centre of the mix. This ensures that the kick drum sound is evenly distributed across the stereo image, providing a solid foundation for the drum kit.
Microphone Selection:
A high-quality dynamic or condenser microphone is typically used for the kick drum. The choice between dynamic and condenser depends on the desired sound and the characteristics of the drum kit itself. A dynamic microphone tends to provide a more robust and warmer sound, while a condenser microphone can offer a more detailed and precise representation.
Experimentation:
While these guidelines provide a starting point for positioning the kick drum microphone, experimentation is encouraged. Adjusting the microphone position, angle, and distance from the drum can yield different sounds, allowing for a unique and personalised drum recording.
The Glyn Johns Method offers a straightforward and effective approach to recording drums, providing a natural, ambient-rich, and punchy sound with minimal microphone setup. By carefully positioning the kick drum microphone and considering phase coherence, panning, and microphone selection, engineers and producers can achieve exceptional results when recording drums.
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Using a snare mic
The Glyn Johns Method uses three or four microphones, including a snare mic, to record drums. The technique is known for creating a massive, punchy drum sound with a natural, ambient-rich character.
The snare mic is placed 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 Shure SM57 is a classic and versatile dynamic microphone that is often used for this purpose.
It is important to ensure that the snare mic is the same distance from the centre of the snare drum as the overhead mics to achieve proper phase coherence. This will result in a cohesive and well-defined drum sound.
Once the overhead mics are in place, the Glyn Johns Method is pretty straightforward. The snare spot mic is placed last. It is positioned a couple of inches above the snare, angled down. The snare mic is pointed towards the centre, aimed at the drummer.
With the Glyn Johns Method, you can play around with the snare mic placement to achieve the desired sound. Since you already have a full picture of the sound with the overhead mics, you can experiment with the snare mic to enhance the characteristics of the snare drum.
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Phase coherence
In the context of the Glyn Johns Method, phase coherence specifically pertains to the overhead microphones. Achieving the right phase relationship between these microphones is crucial. 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. This precision ensures proper phase coherence, resulting in a cohesive and well-defined drum sound.
To achieve proper phase coherence, the first and second overhead microphones should be positioned at the same distance from the centre of the snare drum. This setup ensures that the signals from the microphones coincide, creating a unified and coherent sound. It is important to note that phase differences can cause complications and issues with the combined signal, affecting the overall sound quality.
The Glyn Johns Method's reliance on phase coherence can present challenges, especially when recording in a small space. Phase coherence is sensitive to the acoustic properties of the recording environment, and adjustments may be necessary to achieve the desired sound. Additionally, the method's unique microphone placement can result in phase issues, particularly with the kick drum, requiring experimentation to find the optimal setup.
Overall, phase coherence is a key factor in the Glyn Johns Method's ability to produce a cohesive and ambient-rich drum sound. By carefully positioning the overhead microphones and ensuring proper phase coherence, engineers can create a natural and dynamic recording that captures the energy of a live performance.
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Frequently asked questions
The Glyn Johns Method is a groundbreaking technique for recording drums using a minimal microphone setup, making it ideal for both professionals and beginners.
The Glyn Johns Method typically uses three or four strategically placed microphones.
The setup typically includes one or two overhead microphones, a kick drum microphone, and a snare drum microphone. The key is to keep the side mic and overhead mic equidistant from the snare drum to form a triangular pattern.
Pan the kick and snare mics to the center. Then, pan the first overhead mic halfway to the right, and the second overhead mic all the way to the left.
