Glyn Johns Mic: Record Drums Like A Pro! *Secrets*

Achieving a professional drum sound often relies on clever techniques, and the Glyn Johns mic technique is a prime example. This method, often associated with legendary recording engineer Glyn Johns himself, utilizes just a few microphones to capture a full and balanced drum kit sound. The success of a glyn johns mic setup heavily depends on proper mic placement in relation to the snare drum and overall kit. Understanding these elements allows you to record drums with a powerful, natural sound, emulating the techniques used on countless iconic records. The glyn johns mic can be an effective solution for recording drum sets in your space.

Mastering the Glyn Johns Mic Technique for Drum Recording

The "Glyn Johns mic" technique is a simple yet effective method for recording drums with a minimal microphone setup. It delivers a natural, balanced drum sound that captures the kit’s overall tonality and room ambience. This guide breaks down the placement and principles behind this popular technique, emphasizing how to effectively utilize your "glyn johns mic".

Understanding the Philosophy

The core of the Glyn Johns technique lies in capturing a stereo image of the drum kit using only a few microphones. It relies on careful microphone placement and phase relationships to create a cohesive and balanced drum sound. Instead of isolating individual drums, this technique focuses on the overall sound of the kit as a whole.

• Simplicity: Requires only a few microphones, making it accessible for home recording setups.
• Natural Sound: Captures the drums in a more natural and organic way compared to heavily multi-mic setups.
• Phase Coherency: Emphasizes the importance of phase relationships between microphones for a tight and focused sound.

Essential Equipment

While the technique itself is simple, having the right equipment will certainly improve your results. Here’s a basic checklist:

1. Kick Drum Microphone: A dynamic microphone specifically designed for kick drums (e.g., AKG D112, Shure Beta 52A).
2. Overhead Microphone: A large-diaphragm condenser microphone known for its clarity and sensitivity. Two are preferable to execute the full technique, but can be done with just one (e.g., Neumann U87, AKG C414).
3. Snare Drum Microphone (Optional): A dynamic microphone for adding more presence to the snare (e.g., Shure SM57).
4. Microphone Stands: Sturdy stands to position your microphones accurately.
5. XLR Cables: High-quality XLR cables for connecting your microphones to your audio interface.
6. Audio Interface: An audio interface with at least two preamps (more if you are using additional microphones).

The Core Microphone Placement

The Glyn Johns technique uses a specific microphone configuration. Let’s detail each microphone position, which is key to proper use of your "glyn johns mic".

Kick Drum Microphone Placement

• Position: Inside the kick drum, near the beater.
• Purpose: Captures the attack and low-end thump of the kick drum.
• Experimentation: Adjust the mic position to find the sweet spot that captures the desired balance of attack and low-end. Moving it closer to the beater will emphasize the attack, while moving it further away will capture more low-end resonance.

Overhead Microphone Placement (Right Side)

• Position: Approximately 2-4 feet above the snare drum, pointing directly down.
• Purpose: Captures the overall sound of the snare drum and cymbals on the right side of the kit.
• Considerations: Ensure the microphone is centered over the snare to accurately capture its tone.

Side Microphone Placement (Left Side)

• Position: This is your "glyn johns mic". Place it to the side of the drummer, near the floor tom, aimed at the snare drum. The height should be approximately the same as the snare drum height.
• Distance: The crucial element is to ensure this microphone is equidistant from the snare drum as the overhead microphone directly above the kit. Use a measuring tape for accuracy.
• Purpose: Provides a wide stereo image of the drum kit when combined with the overhead microphone. Captures the overall sound of the tom and cymbals on the left side.

The Equidistant Principle

This is the MOST important aspect. The distance from the overhead microphone to the snare should be exactly the same as the distance from the side microphone (your "glyn johns mic") to the snare. This ensures that the snare drum signal arrives at both microphones at the same time, creating a strong and focused image in the stereo field. Any discrepancies in distance will cause phasing issues, resulting in a muddy or weak sound.

Additional Microphone Options

While the core of the Glyn Johns technique relies on these two overhead microphones and the kick drum microphone, you can add additional microphones to further enhance the sound.

• Snare Drum Microphone: Close-micing the snare drum with a dynamic microphone like the Shure SM57 can add more crack and definition to the snare sound. Position the microphone about 1-2 inches above the snare drum rim, angled towards the center of the drumhead.
• Room Microphones: Adding a pair of room microphones placed further away from the drum kit can capture the natural ambience of the room, adding depth and spaciousness to the recording.

Mixing and Processing

Mixing the Glyn Johns drum sound involves a delicate balance between the various microphones.

1. Start with the Overheads: Focus on getting a good balance between the overhead microphones first. Pan them hard left and right to create a wide stereo image.
2. Add the Kick Drum: Bring in the kick drum microphone to add the necessary low-end thump and attack. Adjust the level to sit well with the overheads.
3. Introduce the Snare (if used): If you used a snare drum microphone, subtly blend it in to add more presence and detail to the snare sound.
4. EQ and Compression: Use EQ and compression sparingly to enhance the clarity and punch of the drums. Avoid over-processing, as the goal is to maintain a natural and organic sound.

Troubleshooting Common Issues

• Phasing Issues: If the drum sound is weak or muddy, check the phase relationships between the microphones. Try inverting the polarity of one of the microphones to see if it improves the sound.
• Lack of Low-End: If the kick drum lacks low-end, experiment with different microphone positions or use EQ to boost the low frequencies.
• Too Much Cymbal Bleed: If there’s too much cymbal bleed in the overhead microphones, try adjusting the microphone positions or using a gate to reduce the bleed.

So, go give the glyn johns mic technique a shot! It might just be the secret weapon you need to take your drum recordings to the next level. Happy recording!