My favorite and best way of micing a kit is an MS stereo overhead, snare, and kick. Never use more unless required by a producer type...
On Feb 7, 2013, at 12:49 AM, Corey Bailey wrote:
> Mic'ing the kick drum from the batter side is usually a disaster. I actually experimented with this approach. The leakage from the snares (underside of the snare drum)is a killer. I tried several ideas, including variations of polarity using two mics. Even built an isolation skirt for the bottom of the snare drum. The isolation skirt helped the leakage situation considerably, but changed the resonance of the snare drum to the point of making the idea useless. I did however, make an interesting kick drum mic once from a cheap 8" speaker. The speaker was suspended from the front of the kick drum. Mic'ing the toms from both sides and flipping the polarity of the underside mic can be interesting but is usually more trouble than it's worth. The sum of the two out-of-phase mics has to be blended for a decent sound and the results are usually no better than you will get with a single mic on the drum. More often than not, a good drummer can play to the recording
> setup. More than once, I mic'd Hal Blane with 5 microphones: Kick, Snare, Hi-Hat and two overheads in an X/Y placement. Hal did the rest.