Kick
There are several different ways to mic a kick drum. It is important to understand each placement option.
You can use a half-cardioid condenser boundary mic placed in the middle of the kick drum to pick up the attack of the beater. The closer to the beater the more attack is picked up the further away the less. An example microphone that would be used for this application would be the Shure beta 91 or the Behringer BA19A.
Adding microphone like the sennheiser e602 aimed towards the port hole (if you have one) will give the kick more definition. However positioning is important to consider, too far over the hole will make the mic pickup lots of air (and too far away won't add any definition!) Although microphones such as the e602 are designed for this. something such as an SM57 would do the job.
A sub kick on the outer drum head helps to add more power, picking up frequencies below 60Hz to add to the mix. Although they don't sound very good on their own, when mixed in with another microphone they work very well, and can be made at very little cost (for more information look at sub kick entry.)
These microphones can be used individually, or together. However, it is important to understand that each of them picks up a slightly difference aspect of the kick drum so one cannot be used a substitute for the other. Besides, it's always easier to remove mics from a mix than add them !
Snare
Depending on the required sound, the positioning of the snare may vary. To pickup the attack aim the mic towards the centre, and more snare body towards the edge.
A simple starting point is positioning the mic about 1 inch above the rim of the snare aimed at the centre of the head and make adjustments.
Another way to pickup more snare body is to aim a mic towards the side of the snare drum aimed in the direction of the port but around 10cm away, like on the kick drum port having this directly over the port will emphasize the wind noise. These techniques can be done with a something as simple as an sm57.
Hihat
It is not always desirable to mic a Hihat, due to its natural loud volume.
However, being able to alter the characteristics without effecting the snare or overhead cymbals is desirable. Placement of a Hihat mic will drastically change the recorded sound. If moved towards the bell, the thicker the sound, but if towards the edge, the thinner the sound.
Toms
Tom mics can be placed close to the rim , aimed down towards the centre of the drum. This can be done with all three, toms however ensure they're positioned as efficiently as possible to reduce things such as bleed from other parts of the kit.
Overheads
There are many different ways to use overheads. They can be used to pick up the entire kit as a whole, .or just the cymbals by close miking them. One technique is to have each overhead microphone an equal distance from the snare as this makes the snare seem centred when mixing.
When it comes to microphones for overheads you can use small (sdc) or large diaphragm condensers. A good example of a popular overhead microphone is the Rode NT5s, however cheaper microphones such as a pair of Behringer C2's will also capture a relatively good quality sound.
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