<p>As we&#39;ve talked about before, recording drum is no easy matter -- in fact, recording drums can be the biggest pain in your you-know-what, especially if you&#39;re just starting out with limited resources.<br/><br/>A few years ago, a good friend and fellow engineer (not to mention a top-notch drummer), Colin Anderson, introduced me to this technique: four microphones, placed strategically, can give a spectacular sound while recording drums. It’s called the Glyn Johns method, and it&#39;s a favorite of recording engineers everywhere trying to get professional results on a tight budget -- meaning few options for microphones.<br/><br/></p><h3><i>That&#39;s great, but who&#39;s Glyn Johns and why should I trust him?</i></h3>Simply put, Glyn Johns is a master recording engineer. Born in England in 1942, Mr. Johns has recorded just about everybody of importance during the 1960s through the late 1980s -- we&#39;re talking Eric Clapton, The Rolling Stones, The Who, Steve Miller, and The Eagles, just to name a few -- pretty amazing resume, wouldn&#39;t you agree?<br/><br/><h3>The Glyn Johns Technique: Step 1</h3>The first step to getting the Johns method to work correctly is -- surprise, surprise -- getting a drummer with a finely-tuned kit.<br/><br/>Since you&#39;re not close-micing all of the drums, you&#39;ll have fewer chances to compress, EQ, and overdub the individual drum tracks to within an inch of their life to get the sound you need.<br/><br/><h3>Step 2: Microphone Selection</h3>Now, you&#39;ll select your microphones. Mr. Johns&#39; technique involves only four microphones -- a kick mic, a snare mic, and two overhead microphones.<br/><br/>A really high-quality kick and snare mic are a must in any microphone arsenal. I find that the AKG D112 never lets me down for kick, and on a budget, the <a href="https://www.thoughtco.com/spotting-a-fake-shure-microphone-1817723" data-inlink="MbPvWV5gXDRHcQdKIbJLUA&#61;&#61;" data-component="link" data-source="inlineLink" data-type="internalLink" data-ordinal="1">Shure Beta</a> 57 (or regular ol&#39; SM57) do great for snare. My preferred snare microphone, if you can afford it (and find one), is the Beyerdynamic M201.<br/><br/>The Johns Method depends on the quality of the overhead microphones. That being said, microphones that are &#34;too bright&#34; aren&#39;t good for this technique, and mics that are very accurate are also a potential problem.<br/><br/>My usual choice for mics for the Johns Method on overheads are ribbon microphones -- even the less-expensive Nady or Cascade microphones will work well, with some EQ. However, my favorite overheads for this technique are the <a href="https://www.thoughtco.com/how-to-mic-a-guitar-amp-1817663" data-inlink="xm38CxnStoqg1gFBFYnYCA&#61;&#61;" data-component="link" data-source="inlineLink" data-type="internalLink" data-ordinal="2">Heil PR-30</a>.<br/><br/>It&#39;s up to you and your budget what you go with, but spending a little extra money to get great microphones will help you later on when recording just about everything else.<br/><br/><h3>Step 3: Position Your Overheads</h3>In order to position your overhead microphones, you&#39;ll need one very important piece of equipment: a tape measure.<br/><br/>In order for this method to work, you have to be very careful about phase. Keeping your overhead mics in phase is the ticket to a great drum sound -- otherwise, they&#39;ll sound washy and off-balance.<br/><br/>Starting with one overhead mic, position it 40 inches from dead-center of the snare drum, facing directly downward to where the kick drum pedal is located.<br/><br/>Now, take your second overhead microphone. This microphone will be positioned to the drummer&#39;s right-hand side, with the microphone diaphragm pointing towards the high-hat, over the tops of the floor tom and snare drum. Confused? Basically, the microphone will be positioned facing the drummer on his right side -- easy as that!<br/><br/>Take the tape measure, and position the microphone&#39;s diaphragm exactly 40 inches from the center of the snare.<br/><br/>Now, you&#39;re ready for your spot mics!<br/><br/><h3>Step 4: Position Your Spot Mics</h3>Mr. Johns&#39; Method only uses two spot mics -- one kick drum mic, one snare mic. Micing those drums is fairly easy -- if you don&#39;t know your favorite position, check out this tutorial right here at About.com on proper drum micing!<br/><br/><h3>Step 5: Panning In The Mix</h3>Panning the microphones in your mix once you&#39;ve recorded is what makes the Glyn Johns Method work perfectly.<br/><br/>Pan your kick and snare mics to the center, as you&#39;d do on any recording. Then, take your overhead mics, and pan the one above the snare halfway to the right -- this gives it a little balance, without taking it too far to the right (and, if you did this, would create an illusion of snare sound coming heavily from the right).<br/><br/>Next, pan your other overhead mic -- the one near the floor tom -- to the far left. This gives a depth and stereo image to the overall kit.<br/><br/>One favorite variation of this tip is to use tube microphones -- if you position a great large-diaphragm tube microphone over the ride and floor tom, along one tube mic as an overhead above the whole kit, favoring the snare, you&#39;ll get a nice, rounded image; this is great for softer rock or blues.<br/><br/>Using this technique, you&#39;ll find that you get an open, natural drum sound, but having a great drummer (with a high-quality kit and great technique) is an absolute must, as are high quality microphones!