Glyn Johns Drum Technique: Classic Four Mic Method

The Glyn Johns drum technique revolutionized drum recording through elegant simplicity. Developed by legendary engineer Glyn Johns during sessions with Led Zeppelin, The Who, and The Rolling Stones, this four-microphone method captured massive drum sounds that defined classic rock. The technique remains relevant today for engineers seeking organic, room-inclusive drum tones.

Origins and Philosophy

Glyn Johns developed this technique during the late 1960s and early 1970s when multi-track recording was still evolving. Limited track counts forced creative solutions, and Johns discovered that carefully positioned microphones could capture drums with impact and dimension that excessive close-miking often destroyed.

The philosophy centers on capturing drums as a single instrument rather than isolated components. By positioning two “overhead” microphones unconventionally and adding kick and snare spot microphones, Johns achieved stereo width while maintaining phase coherence through equidistant placement from the snare drum.

This approach trusts the room acoustics and drum tuning rather than relying on processing to create tone. The resulting sound includes natural ambience and drum resonance that close-miking techniques filter out. This organic quality defined the drum sounds of numerous classic albums.

The Standard Glyn Johns Setup

The technique uses four microphones: two in overhead positions, one on kick drum, and one on snare. The overhead positions differ from conventional stereo pairs—one sits directly above the snare while the second positions beside the floor tom, aimed across the kit.

The first overhead microphone hangs approximately three to four feet above the snare drum, pointing straight down. This microphone captures the full kit from a central position, with particular emphasis on snare and cymbals.

The second overhead positions roughly perpendicular to the first, beside the floor tom at about the same height as the snare head. This microphone looks across the kit toward the hi-hat side, capturing the opposite perspective. The unconventional angle creates width without the comb filtering that conventional spaced pairs sometimes produce.

Critical Distance Measurements

The technique’s effectiveness depends on precise distance matching. Both overhead microphones must sit exactly the same distance from the snare drum center. This equal distance ensures the snare—the primary backbeat element—arrives at both microphones simultaneously, preventing phase cancellation.

Measuring requires a string, cable, or tape measure extended from the snare drum center to each microphone capsule. Typical distances range from 40 to 48 inches, though experimentation within the room may suggest different measurements.

The overhead-beside-floor-tom positioning automatically creates distance from the kick drum, reducing low-frequency buildup in that microphone. The main overhead, positioned above and forward of the kick, captures more low-end than the side position.

Kick and Snare Supplement

The kick drum microphone adds low-frequency foundation that the overheads capture insufficiently. Typical placement puts a large-diaphragm dynamic inside the shell or just outside the resonant head port. This microphone blends with the overhead contribution rather than replacing it.

Snare microphone inclusion varies in different descriptions of the technique. Some versions use only three microphones, relying on the main overhead for snare capture. Adding a close snare microphone provides extra attack and body control when needed.

When using the snare microphone, placement follows standard convention—above the drum head, angled toward center, with the capsule two to three inches from the head. This position captures the direct attack while the overhead provides ambient sustain and body.

Achieving the Classic Sound

The Glyn Johns technique produces a specific aesthetic: punchy, roomy, and organic. The sound includes more floor tom and ride cymbal from the side microphone than conventional overhead approaches. This distribution creates an interesting stereo image different from standard left-right panning.

Drum tuning significantly affects results. The technique exposes tuning flaws that close-miking can mask with processing. Drums should ring clearly without unwanted overtones, and heads should be in good condition. The room ambience captured means tuning sustain matters more than in deadened close-mic scenarios.

Room acoustics play an essential role. The technique works best in rooms with favorable natural sound—neither too dead nor too ringy. Problematic rooms may require treatment or alternative techniques, though some engineers embrace room character as part of the aesthetic.

Modern Applications

Contemporary engineers apply the Glyn Johns technique across many genres beyond classic rock. Indie rock and folk music particularly benefit from the natural, unprocessed quality. Singer-songwriter recordings use the technique to maintain appropriate drum scale within acoustic arrangements.

Digital recording’s unlimited track counts haven’t made the technique obsolete. Many engineers choose this approach for sonic rather than practical reasons. The phase coherence and natural ambience offer qualities that processing cannot replicate authentically.

Variations on the original technique adapt to different situations. Adjusting distances changes the room-to-direct balance. Substituting ribbon microphones for condensers alters the high-frequency character. These modifications maintain the fundamental philosophy while accommodating specific musical or acoustic requirements.