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Glyn Thomas Johns (Epsom, Surrey, England, February 15, 1942) is a British musician, sound engineer and music producer.
Johns has worked with a long list of artists and groups, including Led Zeppelin, The Rolling Stones, The Who, Eagles, Bob Dylan, Linda Ronstadt, The Band, Eric Clapton, The Clash, The Beatles (unreleased material), Ryan Adams, The Steve Miller Band, Small Faces, Spooky Tooth, The Easybeats, The Ozark Mountain Daredevils, Blue Öyster Cult, Emmylou Harris, Midnight Oil, New Model Army, Belly, Joe Satriani, Ronnie Lane, Rod Stewart, Joan Armatrading, Buckacre, Gallagher and Lyle, Georgie Fame, Family, Helen Watson, Fairport Convention and Humble Pie, among others.
In the 1960s, while he was linked to the British band The Presidents, John began working as a sound engineer at the IBC Studios in Portland Place, London. In 1969, Johns was called to produce the tapes that The Beatles had recorded during the Get Back sessions.Johns compiled several versions of the album that were finally rejected by the group, before the project was taken by Phil Spector. Spector’s version became the final album, titled Let It Be.
In 1971, he recorded and mixed the album of The Who Who’s Next. His influence on The Faces album A Nod Is as Good as a Wink … to Blind Horse, which he co-produced with the group, was measured by the message the group gave him in the credits: “Thanks, Glyn, you made all the difference ». Johns’ job as a producer declined during the 1980s, despite engaging with groups such as Midnight Oil, Nanci Griffith and Belly.
In 2011, after a couple of decades away from production, John worked with Ryan Adams on his album Ashes & amp; Fire In February 2012, Johns began working on the album of Band of Horses Mirage Rock.In April 2012, Johns joined the Rock and Roll Hall of Fame in Cleveland.
Johns developed a unique approach to the recording of batteries, characterized by an unusual arrangement of microphones. The key to the method was to keep both microphones high and equidistant with respect to the center of the drum. Since its development, this method has been used constantly in professional recordings.
In 2014, Johns published Sound Man, an autobiography published by Blue Rider Press.
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