How To Mic Drums: The Ultimate Beginner’s Guide

When it comes to capturing the full sound of a drum kit, setting up microphones is key. Whether you’re recording in the studio or setting up for a live gig, understanding how to mic drums, different microphones and techniques can make a big difference in your drum sound.

This article will guide you through the various equipment you will need, the most effective ways to mic drums, including popular methods like the Glyn Johns technique. You will also learn how to mic drums for studio recording versus live performances and special considerations for the environment you are recording in. 

Most Popular Questions

What Equipment Do I Need for Miking Drums?

Why Does Mic Placement Matter for Drums?

What Is My Current Microphone Setup?

What Are The Most Popular Drum Mic Techniques?

Which Miking Technique Should I Use For Overheads?

How To Mic Drums Differently For Studio Vs. Live Performance?

What Are The Challenges To Consider And Tips To Get Around Them?

Conclusion: Mastering The Art Of Miking Drums

Essential Equipment for Miking Drums

Keep in mind that this is the equipment you would need, without any consideration to the environment you are recording in. You also don’t need all of this equipment to make a recording. Sometimes a single microphone in a very good sounding room can capture the sound that you want. But if you want to use a modern studio approach to miking a drum kit, this is the equipment you would need:

Before diving into specific methods, let’s cover some basics. Here’s a list of the primary equipment you will likely need to properly mic a drum kit.

Dynamic Microphones

Often used for snare drums and toms due to their ability to handle high sound pressure levels (SPL). A dynamic microphone will capture sound that is produced directly in front of it. This makes them ideal for close placement to the drums and hi-hats.

Condenser Microphones

A condenser microphone captures more of the “space” around the sound source. While they can be used to mic specific drums, they will capture more “bleed” from other parts of the drum kit, which can be difficult to control or eliminate in the production process. That’s why condenser microphones are commonly used for overheads and room mics, as they capture high-frequency details.

Kick Drum Microphones

Specialized mics that focus on low-end frequencies and can capture the punchy sound of a bass drum. These microphones are generally usually placed inside the Bass Drum or directly in front of it, pointing to the resonant head.

Mic Stands and Clamps

This is essential for positioning your mics around the drum kit. For every microphone used, you will need to use a stand to position the microphone the way youu want, without it picking up vibrations from any other surfaces.

Mics can be also be attached to the rim of a drum using a clamp. This is preferable for a live performance for it’s convenience, but not ideal in a recording studio.

Audio Interface and Cables

An audio interface is the hardware that you plug your microphones into. It is what allows you to send the audio into a computer. It also allows you to adjust the gain on each microphone.

Every microphone you use will need to be connected to the interface using an XLR cable. Generally, you will need long cables (20′ or more) to run the lines between the drums, mics and your interface. Take measurements and always purchase cables a littlle longer than you need. It’s easy to wrap excess cable, but impossible to record if the cable isn’t long enough.

Mic Placement Matters for Drums

Drum kits are unique because they contain multiple components—each with its own tonal characteristics. From the booming bass drum to the crisp snare and shimmering cymbals, each element requires careful consideration when recording. When learning how to mic drums, it’s essential to understand proper microphone placement. This is the key to achieving balance, clarity and depth in your drum sound, while minimizing bleed and phase issues.

Overhead Microphones

Let’s start with the overheads, which capture the overall kit and cymbals. These can be placed in varying configurations (more details below), but you want to ensure they are equidistant from the snare to maintain a cohesive stereo image.

Kick Drum

For the kick drum, positioning a dynamic or boundary mic inside the drum provides a tight, punchy sound, while placing a mic just outside the front hole captures more resonance and low-end depth.

Snare Drum

Typically, a dynamic microphone is placed about one to two inches above the rim, angled towards the center for a crisp attack. Adding a bottom mic helps capture the snare wires’ buzz but must be phase-aligned with the top mic to avoid cancellation issues.

Toms

When miking toms, placing dynamic microphones close to the drumheads, angled slightly towards the center, ensures a full-bodied sound with minimal bleed from nearby cymbals.

Hi-Hat Mic Placement

The hi-hat typically requires a small-diaphragm condenser mic positioned a few inches above the cymbals, ppointing downwards and slightly off-axis to avoid picking up harsh air blasts. It can also be placed below the Hi-Hats facing upwards and pointing to the body of the cymbals.

Room Microphone(s)

For a more spacious, natural drum sound, room microphones can be placed several feet away from the kit to capture ambience and depth. Experimenting with their distance and height can help shape the overall mix. Finally, always check for phase alignment between multiple microphones and use directional mics strategically to minimize unwanted bleed.

Proper mic placement takes some practice when you are first learning how to mic drums. Mastering these techniques is crucial when learning how to mic drums effectively for both studio and live settings.

My Current Microphone Setup

Kick Mic: When using multiple mics, phase cancellation can occur, leading to thin or hollow drum sounds. Always check phase relationships, especially with overheads and snare mics.

Mic Bleed: In both studio and live settings, mic bleed (sound from one drum bleeding into another mic) is inevitable. Positioning mics carefully and using directional mics with tight polar patterns can minimize this.

Room Acoustics: In a studio, the room’s acoustics significantly affect drum sound. Consider the room’s size, shape, and treatment when choosing mic placements. For best results, microphonees should be placed at least a few feet awy from walls and doors.

Consistency: Whether recording or performing live, consistency in mic placement is vital. Small changes in mic positioning can result in drastic differences in tone. Once all mics have been placed, check each one to make sure the gain levels are set appropriately and there are no phase issues.

Popular Drum Miking Techniques

When learning how to mic drums, it is crucial that you take every opportunity to experiment with your approach. There are many popular recording methods that you should both try for yourself and be aware of. Below are some of the more common mic placement techniques used in modern music recording.

The Glyn Johns Method

The Glyn Johns method is a classic setup known for its simplicity and natural drum sound. This technique has been used on famous recordings by legendary artists like The Beatles and Led Zeppelin. It involves using just four microphones:

Kick Drum Mic: Positioned inside or slightly outside the bass drum to capture the low-end punch.

Snare Drum Mic: Placed about 2-3 inches above the upper left rim of the Snare Drum, angled toward the center.

Overhead Mic 1: Positioned above the floor tom, around 3-4 feet high, pointing down toward the center of the kit.

Overhead Mic 2: Placed above the rack tom, equidistant from the snare as the first overhead mic. This mic should also point down, creating a balanced stereo image.

The Glyn Johns technique is excellent for capturing a cohesive sound with a clear stereo image. Many legendary drummers including John Bonham, Ringo Starr and many more used this technique to capture their timeless performances. It is ideal for recording vintage rock, blues, or any genre that requires an organic and roomy drum sound.

The Recorderman Technique

The Recorderman technique is another good choice for a minimalist setup. It uses  just two overhead mics, along with a kick and snare mic. Here’s how it’s done:

Kick Drum Mic: Positioned as you would in other setups, aimed at capturing the low-end thump.

Snare Drum Mic: Placed 2-3 inches above the snare drum, angled toward the center, similar to the Glyn Johns method.

Overhead Mic 1: Positioned directly above the drummer’s head, pointing straight down at the kit.

Overhead Mic 2: Placed over the shoulder of the drummer’s right side (for right-handed drummers), aimed at the snare drum.

To ensure phase alignment, measure the distance between the snare and each of the overhead mics. They should be equidistant from the center of the Snare. This technique provides a well-balanced and natural drum sound with good stereo width.

Close Miking Technique

Close miking involves placing individual microphones on each drum component, allowing for greater control over each element’s sound. This technique is commonly used in both studio recordings and live performances.

Here’s a basic close miking setup:

Kick Drum (1): Place a specialized kick drum mic inside the bass drum, near the beater for a punchy attack, or slightly outside for more body.

Snare Drum (2): Two dynamic mics are used. One is positioned a 2-3 inches above the upper left rim of the Snare, angled toward the center. The 2nd mic is placed directly below, under the Snare, facing the bottom head. It should be 2 inches from the rim, facing the center or pointing upwards, near the inner side of the rim.

Hi-Hats: A condenser mic placed 6-12 inches above or below the hi-hat, capturing its crisp attack.

Toms (3): Dynamic mics positioned about 1-2 inches above each tom, angled toward the center. Remember to place them on the outer rims so that they are not in danger of being hit with a stick.

Overheads (4): A pair of condenser mics spaced evenly above the kit to capture cymbals and overall drum ambience.

Room Mics (optional): Positioned at a distance from the kit to capture the natural reverb and space of the room.

Close miking offers the most control during mixing, allowing you to balance, EQ, and apply effects to individual drums without affecting the others. However, if you are still learning the basics of how to mic drums, this technique is not ideal for a first timer. It involves much more equipment and there is a much wider margin of error.

For a first timer, I would recommend trying one of the other techniques listed above first. Experiment and learn how to  get a good sound with less equipment. 

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Overhead Miking Techniques

Most microphones are placed very close to the drums or cymbals they are capturing. Overhead microphones however, are strategically placed a few feet above the drum kit to capture a wide, natural stereo sound. There are various ways to place your overhead microphones to achieve different results. These techniques below are the most commonly used for overhead microphones.

The Spaced Pair Technique (A/B)

The spaced pair microphone technique is a widely used stereo miking approach for capturing drum kits. This method involves placing two microphones apart at a significant distance, typically above the drum set, to create a broad stereo image. The microphones are usually condenser types due to their sensitivity and ability to capture high frequencies accurately.

Positioning

In a spaced pair configuration, two microphones are placed symmetrically or asymmetrically above the drum set. The distance between the microphones can vary, but common placements include:

• Overhead Spaced Pair – The microphones are positioned equidistant from the snare, about 3–4 feet apart, and around 3–5 feet above the kit.
• Wide Spaced Overheads – The microphones are spread farther apart, sometimes 6 feet or more, emphasizing stereo width.
• Front-of-Kit Spaced Pair – The microphones are placed in front of the drum kit rather than overhead, offering a more ambient sound.

Challenges and Considerations

• Phase Issues – Since the microphones are spaced apart, sound waves from different drums may reach them at slightly different times, causing phase cancellation. This can result in a thin or hollow sound if not properly managed. To minimize phase issues, engineers follow the 3:1 rule, ensuring the distance between the microphones is at least three times the distance from each mic to the closest sound source.
• Center Image Weakness – Unlike coincident techniques (like X/Y), spaced pairs may cause the snare and kick drum to appear less defined in the center of the mix. To compensate, a dedicated snare mic and kick mic are often added.
• Room Dependency – This technique works best in rooms with good acoustics. In untreated or small rooms, excessive reflections may create an unnatural or muddy sound.

Pros and Cons of Spaced Pair Technique

Pros:

• Wide Stereo Image – This method provides an expansive stereo spread, giving the drum kit a large and natural presence in the mix.
• Natural Sound Reproduction – Since the mics are positioned to capture the entire kit, they produce a balanced sound without excessive emphasis on any single element.
• Great for Cymbals and Ambience – The spaced pair technique excels at capturing cymbals, hi-hats, and the natural resonance of the room.
• Flexible Positioning – Engineers can adjust the spacing and angle to emphasize different aspects of the drum kit, such as toms or cymbals.

Cons:

• Phase Issues – If not carefully positioned, the mics may cause phase cancellation, reducing clarity and impact.
• Uneven Frequency Response – Depending on the room and microphone placement, some parts of the kit may sound louder or softer in the stereo field.
• Harder to Maintain Center Focus – Unlike techniques like XY or ORTF, spaced pairs don’t naturally provide a strong central focus, which can lead to an imbalanced mix if not carefully adjusted.
• More Room Dependency – The wider spread can pick up more of the room’s reflections, which may be problematic in untreated or overly reverberant spaces.

XY Stereo Miking

The XY microphone technique is a popular stereo miking method that captures a well-balanced and phase-coherent stereo image of a drum set. It involves placing two identical cardioid microphones at a 90-degree angle, with their capsules as close together as possible. This setup ensures minimal phase issues while providing a natural stereo spread.

Positioning

The most common placement for XY microphones on a drum kit is as overheads. This captures the full kit, including cymbals, toms, and snare, while maintaining balance and stereo accuracy.

• Position: The ideal spot is above the snare drum, centered between the cymbals, at a height of around 3–4 feet.
• Angle: The microphones should be positioned at a 90–120-degree angle to capture a natural stereo image without excessive width.
• Direction: Point the microphones downward toward the drum kit to evenly capture cymbals, toms, and the overall kit sound.

Pros and Cons Of  XY Technique

Pros:

• Live Performances: The tight stereo image prevents excessive panning in PA systems.
• Studio Recordings in Small Spaces: Works well in controlled environments where phase accuracy is crucial.
• Genres Requiring a Balanced Drum Mix: Ideal for jazz, acoustic, and pop recordings where a natural drum sound is preferred.

Cons:

• Narrow Stereo Image: Compared to spaced pair techniques, the stereo field is less wide.
• Less Room Ambience: The XY setup focuses more on direct sound, capturing less of the room’s natural reverb.
• Microphone Stand Considerations: A stable stand or stereo bar is required to keep the mics aligned properly.

ORTF Technique

The ORTF microphone technique is a stereo recording method that mimics human hearing, offering a natural stereo image with a strong sense of depth. It involves placing two cardioid microphones 17 cm apart at a 110-degree angle. This setup balances stereo width and mono compatibility, making it a valuable choice when recording drums.

Unlike spaced pair techniques which can introduce phase discrepancies between the microphones, ORTF ensures better mono compatibility while still providing a wide stereo spread. Compared to X/Y, which has a narrower spread, ORTF offers a more natural sense of space and separation.

The ORTF configuration is typically used as overheads to capture the entire drum kit with a balanced blend of cymbals, toms, snare, and kick drum ambiance. Here are the key placement considerations:

1. Above the Drum Kit: Position the ORTF pair roughly 3–4 feet above the snare drum, aimed slightly downward. This placement captures the entire kit evenly.
2. Centered Over the Snare and Kick: To maintain balance, ensure the snare and kick drum sit in the center of the stereo image. Adjusting the height alters the balance between cymbals and drums.
3. Behind the Drummer (Overhead Perspective): Placing the ORTF mics behind the drummer’s head provides a perspective similar to what the drummer hears, offering a more natural mix of elements.
4. Over the Front of the Kit: For a roomier sound with more resonance, the ORTF pair can be placed in front of the kit at a slight angle.

Pros and Cons of ORTF for Drum Recording

Pros:

• Natural Stereo Image: Provides a realistic and balanced representation of the drum kit.
• Minimal Phase Issues: Compared to spaced pairs, ORTF maintains better phase coherence.
• Good Mono Compatibility: The near-coincident placement ensures that summed mono signals remain clear.
• Wide Frequency Response: Captures a good mix of cymbals and drums without excessive harshness.

Cons:

• Less Focused Snare and Kick: ORTF overheads alone may not provide enough punch for kick and snare, requiring close mics.
• Complex Positioning: Requires precise mic placement to maintain stereo balance.
• Room Dependence: The sound is influenced by the acoustics of the recording space.

How To Mic Drums for Recording vs. Live Performance

The miking techniques used in a controlled studio environment differ from those used in live settings. Let’s explore the differences:

Recording Studio Setup

In a studio, the goal is usually to capture a clean, detailed sound with as much control over each drum as possible. Close miking is the most common approach, but many engineers combine it with room mics and overheads for a fuller sound. Techniques like the Glyn Johns or Recorderman methods can also be used, depending on the desired sound.

Sound isolation is key in the studio. Engineers often use gobos (portable acoustic panels) to reduce bleed between mics. The room’s acoustics also play a huge role—larger rooms with good reverb can add natural ambience to the drums, while smaller, treated rooms provide a tighter, more controlled sound.

Live Performance Setup

For live performances, the focus is more on clarity and minimizing feedback. Close micing is the standard, with dynamic mics being favored for their durability and ability to handle loud sound sources. Condenser mics for overheads are still used, but engineers often position them closer to reduce bleed from other instruments on stage.

Because live settings involve multiple sound sources, including amps and vocals, it’s crucial to avoid phase issues. A good live drum mix requires attention to phase relationships between mics, especially with overheads and snare mics.

In larger venues, engineers may also use sub-mics or triggers on the kick drum to add low-end punch through the PA system.

Common Challenges and Tips for Miking Drums

Phase Issues: When using multiple mics, phase cancellation can occur, leading to thin or hollow drum sounds. Always check phase relationships, especially with overheads and snare mics.

Mic Bleed: In both studio and live settings, mic bleed (sound from one drum bleeding into another mic) is inevitable. Positioning mics carefully and using directional mics with tight polar patterns can minimize this.

Room Acoustics: In a studio, the room’s acoustics significantly affect drum sound. Consider the room’s size, shape, and treatment when choosing mic placements. For best results, microphones should be placed at least a few feet away from walls and doors.

Consistency: Whether recording or performing live, consistency in mic placement is vital. Small changes in mic positioning can result in drastic differences in tone. Once all mics have been placed, check each one to make sure the gain levels are set appropriately and there are no phase issues.

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Conclusion: Mastering the Art of Miking Drums

Learning how to mic drums effectively requires a blend of technical knowledge, experimentation, and an ear for balance. Whether you’re aiming for the natural vibe of the Glyn Johns method or the precision of close miking, understanding these techniques will give you a solid foundation for capturing the perfect drum sound.

Remember, the “how to mic drums” process is as much about adapting to the situation as it is about following established methods. Room acoustics, the style of music, and the type of performance all play critical roles in determining the best mic setup for your drum kit.

You won’t learn how to mic drums overnight. It takes experimentation with different techniques, pay attention to mic placement, and most importantly, trust your ears. With practice, you’ll be able to consistently achieve great drum sounds, whether in the studio or on stage.

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