Ella Walter
The Glyn Johns drum mic method is a technique for recording drums named after the famed music producer and engineer. Johns, who worked with artists like The Beatles, The Rolling Stones, Led Zeppelin, and Bob Dylan, developed this method to achieve a big, punchy drum sound with just four mics: two overheads, one kick mic, and one snare mic. The Glyn Johns method starts with one mono overhead mic positioned 40 to 60 inches directly above the snare, followed by the second overhead placed just to the right of the floor tom. The key to this technique is ensuring the overheads are placed carefully to maintain proper phase and create a well-balanced sound. This method allows for a dynamic range, from soft to very loud, and has become a popular approach to recording drums.
| Characteristics | Values |
|---|---|
| Number of microphones | 4 |
| Type of microphones | 2 overheads, 1 kick, 1 snare |
| First overhead position | 40 to 60 inches directly above the snare, pointing down |
| Second overhead position | To the right of the floor tom, 6 inches above the rim |
| Kick microphone position | In the port hole of the kick drum or close to the skin |
| Snare microphone position | A couple of inches above the snare, angled down |
| Snare direction | Towards the centre, aimed at the drummer |
| Panning | First overhead mic far right, second overhead mic far left |
| Phase | Critical to the technique, loss of depth and punch if overheads are not placed carefully |
| Drummer quality | Important due to limited spot mics, the drummer needs to maintain balance throughout the performance |
| Recording space | Plays a significant role in the sound |
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What You'll Learn
The Glyn Johns Method: 4 mics, 2 overheads, 1 kick, 1 snare
The Glyn Johns Method is a drum-recording technique that uses three or four microphones to achieve an ambient yet punchy drum sound with power. This technique is ideal if you don't have many microphones at your disposal. The four-mic setup involves two overheads, one kick mic, and one snare mic.
For the overhead microphones, large-diaphragm condenser microphones are the preferred choice. The Beyerdynamic M160 ribbon microphone is a popular option, offering rich clarity and excellent transient response. Alternatively, high-quality large-diaphragm condensers, such as the Neumann U87 or the Shure KSM44A, can also be used. The first overhead microphone is placed 40 to 60 inches directly above the snare drum, pointed straight down to capture a balanced and comprehensive image of the entire drum kit. The second overhead microphone is positioned approximately 6 inches above the floor tom, facing towards the snare drum and hi-hat at 90 degrees. This "side-fill" microphone provides a fresh perspective on the kit, complementing the primary overhead.
The challenge with the two overheads is getting them in phase. The distance from the snare drum to each overhead microphone must be precisely measured and adjusted to ensure the sounds from both mics arrive simultaneously. The second overhead should be positioned so that the capsule is exactly the same distance from the centre of the snare as the first overhead.
For the kick drum, both dynamic and condenser microphones can be used. The AKG D112 or the Audix D6 are excellent dynamic options, while the Shure Beta 52A is a suitable condenser choice. The kick mic is placed inside the port hole of the kick drum or close to the skin. The desired "beefiness" can be achieved by moving the mic closer or farther from the centre of the drum.
For the snare drum, the Shure SM57 is a classic and versatile dynamic microphone that has long been a go-to choice for this technique. It offers a well-balanced frequency response, making it ideal for capturing the snare drum. The snare mic is placed a couple of inches above the snare, angled down towards it and pointing at the centre to create a complete picture of sound.
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Overhead mic placement: 40-60 inches above snare, pointing down
The Glyn Johns drum mic methodology is a technique named after the famous engineer and music producer who worked with artists like The Who, The Beatles, and The Rolling Stones. When it comes to overhead mic placement, there are a few things to consider. Firstly, it is important to place each overhead mic at the same distance from the snare drum to ensure it is in phase in the recordings. This is especially crucial if you are using multiple overhead mics. The height of the overhead mics can vary, with some preferring to place them straight above the drummer's head or even behind the drummer.
One common approach is to position the overhead mics at a height of around 40-60 inches (or 3-5 feet) above the snare drum, pointing directly down. This setup can help emphasize the attack and stick impact of the drums. However, it is important to note that microphone placement should also consider the type of music, the sound of the drums, the playing style of the drummer, and the physical properties of the venue.
If you are using multiple overhead mics, you can experiment with different configurations. For example, you can place one overhead mic over the left crash, picking up the hi-hats, and another over the right crash, capturing the ride cymbal as well. Alternatively, you can angle the mics at a 45-degree angle, similar to what Simon Phillips does with two LDCs angled down and away.
It is worth mentioning that there is no one-size-fits-all approach to overhead mic placement. The "best" placement will depend on the specific situation and desired sound. As Glyn Johns himself emphasized, understanding what the microphone is "seeing" is crucial, and this understanding comes from experience and experimentation.
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Second overhead: right of floor tom, 6 inches above rim
The Glyn Johns Method is a drum miking technique that can achieve a big, punchy drum sound with just four mics: two overheads, one kick mic, and one snare mic. The method is named after the famed producer and engineer, Glyn Johns, who worked with legendary artists like Led Zeppelin, The Rolling Stones, and the Beatles.
The second overhead mic is a critical component of the Glyn Johns Method. This microphone should be placed just to the right of the floor tom, approximately 6 inches above the rim. It is important to ensure that the second overhead is positioned correctly as it plays a significant role in capturing the sound of the drums.
The placement of the second overhead mic at this specific location allows for the capture of a full and balanced sound of the drum kit. By being positioned slightly above the rim of the floor tom, the microphone can pick up the sound of the floor tom, as well as the surrounding drums and cymbals. This helps to create a more immersive and dynamic sound compared to traditional close miking techniques.
Additionally, the second overhead mic, when positioned correctly, can help to reduce phase issues. By being placed equal distant from the snare drum, along with the first overhead mic, the small timing differences in sound reaching each microphone are minimized, resulting in improved sound quality.
It is worth noting that fine-tuning the position of the second overhead mic can help achieve the desired sound. Depending on the specific circumstances and the sound engineers' preferences, minor adjustments to the mic placement can be made to emphasize certain elements of the drum kit or to create a slightly different tone.
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Kick and snare spot mics: placed for beefiness and boominess
The Glyn Johns Method is a drum miking technique that can achieve a big, punchy drum sound with just 4 mics: 2 overheads, 1 kick mic, and 1 snare mic. The majority of the drum sound comes from the overhead mics, while the kick and snare spot mics can be placed for added punch and beefiness.
For the kick drum mic, you can use either a dynamic or a condenser. Place the kick mic in the port hole of the kick drum or close to the skin. You can achieve the desired "beefiness" by moving the mic closer or farther from the center of the drum. If you want to muffle some of the boominess of the kick, add a blanket or pillow inside the kick drum.
For the snare drum mic, a dynamic mic is recommended, but it doesn't have to be anything fancy. A Shure SM57 works well. Similar to the kick spot mic, the placement of the snare spot mic is a matter of personal preference. Position the mic a couple of inches above the snare, angled down towards it and pointing at the center, so that all sounds come in clearly.
Once you have the overhead mics set up and have a full picture of the sound, you can play around with the snare and kick spot mics to achieve the desired sound.
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Panning: first overhead far right, second overhead left
The Glyn Johns drum mic method is a technique that can help you achieve a big, punchy drum sound with just four microphones: two overheads, one kick mic, and one snare mic. The Glyn Johns method starts by taking the first overhead mono mic and positioning it 40 to 60 inches directly above the snare (the middle of the kit). This microphone should be panned far right. It should be pointing straight down at the kit, capturing a complete and balanced image of the drum set. You’ll want to hear a blend of the snare, toms, and cymbals in this mic.
The second overhead microphone should be panned all the way left. This microphone is positioned just to the right of the floor tom, approximately 6 inches above the rim. The key to the overhead mics is that they are both equally distant from the snare drum to ensure proper phase and avoid degraded sound quality.
Once you’ve got the overhead mics right, the Glyn Johns Method is pretty straightforward. Take your preferred kick drum mic and place it in the port hole of your kick drum, or close to the skin. You can also muffle some of the boominess of the kick by adding a blanket or pillow. Finish up by placing your last spot mic over the snare.
The room you choose to record drums in will also make an impact on your overall sound. If you want a big sound, you’ll probably have to record in a proper recording studio with a lot of open space.
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Frequently asked questions
The Glyn Johns drum mic method is a technique for recording drums using just 4 mics: 2 overheads, one kick mic, and one snare mic.
The first overhead mic should be positioned 40 to 60 inches directly above the snare and should be pointing straight down. The second overhead mic should be placed just to the right of the floor tom, around 6 inches above the rim. Both mics should be an equal distance from the snare drum to ensure proper phase.
Place your kick drum mic in the port hole of your kick drum or close to the skin, adjusting the distance to get the desired level of "beefiness". Finish by placing your snare spot mic a couple of inches above the snare, angled downwards towards the centre.
Pan the first overhead mic far right, and the second overhead mic all the way left. Keep your snare and kick mics in the centre.
