This technique uses two cardioid condenser microphones positioned side-by-side with the drummer's ears and pointed toward the front of the kit. The microphones should be 4 to 8 inches from the drummer's head.
This technique is very straightforward and tries to emulate how you hear the drums when you’re playing them. As with the other techniques, phasing is key, so be mindful of the distance between each mic and the snare (should be equidistant).
Pros to this technique:
- The sound is very close to the way you hear your drums when playing, which can have very good applications—especially for demoing or “POV” type of approach.
- You get a good stereo sound, with the hi-hat pulling towards one side and the ride cymbal towards the other.
- Very easy to set up.
Cons:
- As with the “Recorderman” technique, you won’t have a lot of bass drum, or low-end for that matter. So it is advisable to use this approach with other mics (at least a bass drum mic).
- The drummer should move as little as possible and be careful not to breathe heavily.
- You won’t necessarily get a centered sound. On the contrary, with this approach it is better to pan each microphone hard (or mid-way) to each side.
