Glyn John's Technique for recording drums

Used it for about 10 years.

There are lots of pictures and videos about it.

It's a great technique.
 
Is the Beyer mic to the left in line with the centre of the floor tom (i.e. where does it sit, front to back?)?
 
jonny deep said:
Is the Beyer mic to the left in line with the centre of the floor tom (i.e. where does it sit, front to back?)?
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I put mine up about a foot higher than the floor tom. Actually, mine's a little back behind the kit, too.

I might be wrong but, I think that technically, Glyn Johns is just a 2 mic technique. But pretty much everyone that uses it, including myself, adds the 2 other mics.
 
RAMI said:
I put mine up about a foot higher than the floor tom. Actually, mine's a little back behind the kit, too.
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I only asked because it's clear where the other mics sit, but that one it's a bit ambiguous. I don't even have a drum kit any more!
 
RAMI said:
I put mine up about a foot higher than the floor tom. Actually, mine's a little back behind the kit, too....
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Pretty much where I put mine.

and not to de-rail... but do you guys use the same basic set up for bigger kits? Say...2 kicks, 6 toms, 8 or so cymbals?
would you still use the G J technique?
 
How does this differ from the RecorderMan technique? From what I have read, the illustration looks like the same thing as the RecorderMan technique. Just curious.
 
TripleM said:
How does this differ from the RecorderMan technique? From what I have read, the illustration looks like the same thing as the RecorderMan technique. Just curious.
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It's almost the same. Recorderman has the "second" mic pretty much coming over the drummer's right shoulder, rather than close to the floor tom.
 
I'd like to add that my drawing is only a guide, not a final 'set in stone' version, the key is to get mic A and mic B exactly the same distance from the snare, as long as you are doing that there will never be phase issues.
 
Btyre2013 said:
I'd like to add that my drawing is only a guide, not a final 'set in stone' version, the key is to get mic A and mic B exactly the same distance from the snare, as long as you are doing that there will never be phase issues.
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With the snare. There will be phase issues with everything else. Not that phase issues are automatically bad, but they will be there.
 
Btyre2013 said:
there won't be any issues with phase on the other mics, not from my experience.
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I agree. Well, maybe technically there are phase issues. For all I know, maybe there has to be, by the laws of physics or whatever. But I don't hear any as long as the mics are lined up with the snare.

By the way, forgot to say...Thanx for taking the time to make and post the drawing. :cool:
 
Btyre2013 said:
there won't be any issues with phase on the other mics, not from my experience.
Click to expand...

Well then let's just say that anything not on the "plane of equidistance" between the two mics will in fact be out of phase by some amount depending on frequency and distance. Whether that's a problem, an issue, nothing to worry about or even a good thing is subjective. I just didn't want people get the the impression that "there will never be phase issues" meant "everything will be in phase".
 
Gumby question if I may?
The distance of the A & B mics from the snare: is that based on the centre of the top skin or some other nominated spopt?
 
there won't be any issues with phase on the other mics, not from my experience.
Click to expand...
RAMI said:
I agree. Well, maybe technically there are phase issues. For all I know, maybe there has to be, by the laws of physics or whatever. But I don't hear any as long as the mics are lined up with the snare. ..
Click to expand...
bouldersoundguy said:
Well then let's just say that anything not on the "plane of equidistance" between the two mics will in fact be out of phase by some amount depending on frequency and distance. Whether that's a problem, an issue, nothing to worry about or even a good thing is subjective. I just didn't want people get the the impression that "there will never be phase issues" meant "everything will be in phase".
Click to expand...
The result being with spread pairs ('A/B' stereo- isn't that what it basically is?) when, or as it's collapsed towards mono, the tones shift around some- depending on all these different arrival times from across the kit.
I typically go from both sides of the drummer- wider and likely a more out of time placement than 'Recorder or 'Glyn's, and pan them in or out for the width for a given mix. And fully mono (when I try it) does not 'fall apart or sound bad, just quite different.


rayc said:
Gumby question if I may?
The distance of the A & B mics from the snare: is that based on the centre of the top skin or some other nominated spopt?
Click to expand...
I go center-top. Seems like the thing pretty much radiates out from there?
The other thing is trying to get the kick into equal arrival as well. (IIRC on of the string arc' methods was aimed at solving that.
From what I've gathered, the snare is easier to notice (more critical?) in the Haas pan errors than the kick.
 
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