And don't forget to stick yourself in the corner of the room in front of the Windows so you get all of the nice acoustic bounce. Make sure the room has no acoustical enhancements or soundproofing as this appears to be a working bedroom. How do you know he doesn't have a microphone in the bathroom down the hall that's not shown?? In fact that might be the primary microphone. All of these others are just for the look. Plenty of engineers do this to make it look good. So don't be surprised if you don't get the same sound you think you should.

Now, I know you're thinking to yourself "this broad is full of crap!" But in fact, I learned this from one of my first bosses/mentors who used to record the Baltimore Symphony Orchestra. He would put out 8 microphones to make it look good. He only used 3, ever. But he told me that he put the others out to make it look like he was doing his job and knew what he was doing. So perhaps you should include more microphones and tell your friends it's better than Glyn Johns.

I'm too lazy to do that. So I only put out the microphones needed. Probably why don't get as much work as others?

Would rather be knitting wool than pulling wool
Ms. Remy Ann David

Thanks?

I'd never thought of it this way before, but the Glyn Johns setup is awfully close to the recorderman overhead setup + snare + kick. I played around with that for a while, but now I'm doing two symmetrically placed overheads + kick + snare. Have not tried Glyn Johns, but those pictures looks like the descriptions I've seen in the past. I've always thought of it as a three mic setup with the one over the floor tom thrown in as an afterthought. I've done live sound with thee mics a lot. Single overhead - snare - kick. Be interested to hear about your experience.