Go TO Mics & Positions

Kick:
D112 inside the drum, halfway between the beater and resonant head,
pointing slightly off-center.
Move away from beater for more low-end; closer for more impact
and less mud
Subkick placed outside the resonant head (~2 away) can add low-end
woof. Not necessary for technical metal drums but useful in simpler
rock arrangements.

Snare:
SM57 on top and bottom.
Top mic: 1-2 above the drum and ~1 inside the rim aimed at the center
Bottom mic: Mirror top mic but place 4-6 away from the head
Position mics to minimize bleed (point away from cymbals & hi-hat)

Toms:
e604 or similar dynamic mic
Top mic: 1-2 above the drum and ~1 inside the rim aimed at the center
Position mics to minimize bleed (point away from cymbals & hi-hat)
 Mic Positions cont.
Overheads:
C451b or similar small diaphragm condensers
1-2 feet above cymbals in a spaced pair, aimed at the edge of the cymbal.
Will lack shimmer and sound unnatural if miked too closely or towards .
the middle of the cymbal.
Place mics equal distance from the center of the snare
(Use a measuring tape).
Use a 3rd and 4th mic if available for hi-hats and chinas (try to use
one mic per 2 cymbals).
Think of overhead mics and cymbal mics, not whole kit mics and
position accordingly.

Rooms:
Pair of large-diaphragm condensers
5-20 feet away from the kit (depending on room size), aimed at the
kit in a spaced pair 3-10 feet apart
In small rooms, look for unique spots instead of traditional positions
(in a closet, behind a door, in a hallway, etc.)
If available, add a 3rd mono room mic with significantly different
character (Ribbon mic or a condenser in a unique spot through a dirty
signal chain)