| I personally like to have a reso hole, it seems to give the most options in terms of attack and tone. But that's just me.
A good sound guy will let the drummer set up exactly as they feel comfortable and work with it. If you're getting a decent sound off the kit as you record, you'll be more likely to play confidently. Of course beer helps too.
I did a session a couple of years ago where I was asked to change the sound of the drums quite severely to accomodate a pre-conceived idea of how a kit should sound. I didn't like the feel of the snare at all and I think it changed the way I played some of the parts, I listen back to it and think it sounds a bit flat, performance-wise. (Actually, I admit the drums didn't sound that great to start with, I've changed my setup a lot since then).
Last week I did a session and we got a friend on board to engineer, it was a totally different story and the drums sound amazing. My playing was confident because the kit sounded how I wanted it to sound, and I knew it was coming across in the mix.
So back to the point: we used 2 mics on the kick, one inside towards the reso head and off-center to pick up low end, then one outside the drum about 6 inches from the reso head, pointing through the hole directly at where the beater strikes the head - this mic picked up more attack and some sound from the wood of the drum. A mixture of the two mics sounds just incredible, I recommend trying it - you can add or subtract attack or low-end as you feel fit.  |