You can do it, but to be honest, if you have a small mixer into a PA, I would just try to mic the kick and snare. If you want to use a single mic, we find that a SM57 hung overhead is the best way to amplify the whole kit. Just play around with the height. Right over your head and a little in front of you (generally above your head, and in line with the snare) is best. Just don't hit the 57 with your sticks (the end filters can break off easily)

I've never tried the method used in the video. It looks interesting but unless you already have a nice condeser mic, you could buy drum mics and a small nice 4 channel mixer for the same $ (and just do a simple sound check before you start)

ps. I'm no expert, but I am the sound engineer (mixer) for a cover band that plays every weekend in tons of different clubs from super small rooms to large music bars to outdoor gigs. FWIW

I don't like that drum sound at all. Maybe because I just don't like Tchad Blakes recordings. If I was desperate, maybe. The heart of a drum kit in most situations is the kick. I'd rather have a good kick sound and rely on vocalist mike bleed for the rest than use that sound. Best alternative for me is one 58 in the kick; one 57 overhead. Together, much cheaper and more robust than the RODE too. $00.02

I use a Shure Beta 52 kick and a Shure SM94 overhead. The 94 is about a $180 US. But it picks up the whole kit rather well. If needed a SM57 on the snare.One mic won't do it for me. I play a small 4 piece most of the time anyway. And Troutstudio I love your recorded sound!

Ed

Well, I'm looking for that overall sound, I've tried close miking on all the drums live and it doesn't seem to work for me. I want to be able to set up quickly and use as little miking as possible. I have a nice condenser mic I'm going to try at our next gig, maybe I'll put a mic just in front of the kick as well. I want a natural sound from the kit, with a boomy kick, I use coated ambassadors on all the drums, with little muffling, I only use a felt strip across the batter side of the kick, thanks for the comments.

I am performing between 2 and 4 times a week right now with a 3 piece group and mostly use a 4 piece kit. We are performing in large outside venues to very small clubs. For the smallest clubs, SM52 on kick and rely on my beta 58 vocal mic to pick up the rest. I will even pull the boom up and use it as a overhead. For the larger venues, 52 on kick,57 on snare and L&R condenser overheads. I actually bought a pair of the Beringer C somethings a few years ago that came as a matching pair for $50. There fine for gigging and I don,t have to worry about breaking, or stolen expensive mics.

IMHO if I had one microphone, I would use a large (Shure KSM32) or small diaphragm (Shure KSM137 or 141) condenser mic in the overhead position. I would only use a dynamic mic (SM57, SM58, etc) as an overhead if I absolutely had to. Dynamics do not have the transient or frequency response that a condenser posses and I think they sound pretty bad on cymbals or hats. If you can use two mics, go with the condenser overhead and a large diaphragm dynamic in or in front of the kick obviously depending on whether you have a full front head or one with a hole (i.e. Shure Beta 52A, or similar). BTW - I have been playing drums for 20 years and was a studio & live sound engineer for many years.

Just my two cents.

johnnyringo,

I've had good results in the past using a condenser mic underneath the ride cymbal (wouldn't work if you mount that cymbal super low), pointing in at the snare drum and equidistant from the mounted tom and floor tom. I also run a bass drum mic, though. I've used this setup many times and have always been pleased with the sound.

Here are a couple of pics...

[IMG]http://i21.photobucket.com/albums/b273/ryanculberson/110811_004-Copy.jpg[/IMG]

You can see the mic in between the ride cymbal and the top of the bass drum.

[IMG]http://i21.photobucket.com/albums/b273/ryanculberson/110811_005-Copy.jpg[/IMG]

You can barely see the tip of the mic poking out from underneath the cymbal.

In my situation, I almost always find myself wanting more drums and less cymbals getting picked up from the mic, which is why an overhead position doesn't work as well for me. With the mic in my preferred placement, it gives me more drum and less cymbal. Might be worth a try...

Cheers,

Ryan

No arguments here. I should have clarified that I was referring to a absolutely basic pair of mics that most people could get or borrow. But I have used that setup and with some eq and attention to placement, it's ok. I use a pair of C1000's for overheads at home but I wouldn't carry them around - even though they weren't expensive. Any gig that needed miking like that I would be relying on someone else to do it.

Your setup looks interesting Ryan. Nice drums! I usually play 2 up/1 down which might be a bit harder to pull off but it's worth a shot.

Thanks Ed. I close mic drums for recording at home because I want to eliminate any room sound, since the room sounds pretty awful. Funny thing is that I have spent a fraction of the cost of my drums and cymbals on microphones for them. It's like mixing - you get used to the speakers you have and work with it. I would like a better set of tom mikes but I'll have to sell a few snares first.

Anyway, it's good to hear from other drummers on this - I value it.

I've used my Beta 52 and 1 or 2 Audio Technica condensers (I can't remember the model...they belonged to the lead singer, who is also a sound engineer) on many occasions and this worked very well. But, like I said, the lead singer of the band is a sound engineer and, fortunately for me, he likes a full drum mix. I also used the Beta 52 and 2 PG81s at a small outdoor venue once and got lots of compliments on the drum sound.

Lynn