Editing Glyn Johns (section)

==Approach to recording==

Johns has stated that he prefers, when possible, to record instrumental tracks with musicians playing together live in the studio as a collective unit, using a limited number of microphones and tracks—in a space suitable for ensemble playing that has unique acoustical characteristics,{{sfn|Johns|2014|p=169}} and he generally prefers recording the basic track from one continuous take of a whole performance, rather than editing together different pieces.{{sfn|Drum Mag.}}
::"I have never lost the value of musicians interacting with one another as they play.  This can be so subtle and invariably is nothing more than a subconscious emotive reaction to what others are playing around you, with what you are contributing having the same effect on them.  When a musician overdubs his or her part onto an existing track, this ceases to be a two-way interaction.{{sfn|Johns|2014|pp=169–170}}

Johns developed an approach for recording drums in stereo, sometimes referred to as the "Glyn Johns Method", that aims to achieve a natural perspective of the whole kit, rarely employing more than three or four microphones.{{sfnm|1a1=Johns|1y=2014|1pp=117–119|2a1=Drum Mag.|3a1=Home Recording|3y=2018}}  His method  consists of using two overhead microphones, with one placed over the snare drum and the other slightly over and to the right of the floor tom (both pointed towards and equidistant from the snare drum), as well as a third microphone set in front of the bass drum.  He sometimes uses an additional close mic for the snare drum.{{sfnm|1a1=Johns|1y=2014|1pp=117–119|2a1=Drum Mag.}}