A partial version of the entire miking approach of “Songs for the Deaf." This will give you a more conventional mix, with rooms by sections but with snare and bass drum mics. A more “complete” sound—albeit without as much ambience as with the ceiling mics.
Here’s the outline:
- Place each mic (left, center and right) equidistant from each other.
- Place them around 3 feet off the floor. You don’t want to place them too high, otherwise you’ll lose a lot of low-end.
- Make sure you’re pointing them towards their corresponding section of the drum set.
- Place a microphone inside the bass drum (or just outside), to avoid additional bleeding
- Place a (preferable) dynamic mic on the snare, about 3 fingers from the top head. Of course, you can go full-on Valentine and use a Northern Electric 633A salt shaker.
Pros of this technique:
- A holistic sound of the drums, with great stereo image possibilities with the left & right mics, but a centered mono signal with the center-front.
- A good middle ground for room sounds and bass drum & snare presence.
- Added boost to bass drum and snare.
Cons:
- Your cymbal sound will not be as bright as with traditional overhead techniques.
