[Luke]

I would actually have to change what I said earlier and not recommend the presonus interfaces, I bought 2 firestudio tubes and they both stopped working soon after getting them, causing me a HUGE headache and causing me to cancel recording sessions. I even went on tech support and they said I was doing everything right, and I mean everything we checked and checked and checked. So I would say stay away from them, even though they look very appealing, and for the short time they worked I loved them.

[Sheephead]

lol i guess its luck of the draw then. Ive had mine for 3 years now from when they used to be called Presonus Firepods. I got mine for about 200 quid i think, they then changed the name and upped the price. But yeh, ive had mine 3 years and its work perfectly everytime. Never had any syncing problems, any audio dropouts nothing.
If you dont like the look of this one, you can always check out the octo MOTU 8 pre. same thing just different company and slightly more expensive.

[Tainojim]

I was lucky enough to get three TOA Pa Amps and use them for mixing with a DBX to get a nice clean stereo out signal to an M-B0X. Then from an M-BOX to a Mac using ProTools.

My son at the time had finished College for Entertainment Technology. The Shure mics were his idea to keep the budget down.

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[orionsbelt77]

I use six microphones. One Sennheiser e-602 in each of the bass drums, two Audio Technica 30's for snare top and between toms 1&2, Oktava 012-01 electret condensers between toms 3&4 and 5&6.
I have obtained wonderful results with inexpensive dynamic microphones as well.
The Shure SM-57 is the industry standard, so you'll not go wrong with those. Many other things come into play as well, such as room size and acoustics, mic placement, phasing, EQ and effects processing etc. Experiment. See what works best for your situation and do not break the bank in search of the perfect equipment setup. Every knob is a virtual "suck" knob, which can be turned up, regardless of expense. Remember when recording: Garbage in, garbage out. You cannot always "fix in the mix".

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[Mr Downtown]

I've used the 5 set up and the 4 set up, and I have to tell you it sounds great that way. It's pretty much how Glyn Johns recorded Keith Moon on the early stuff.

[JoeyTheSnake]

I still like my RE20 for kick

[orionsbelt77]

Whatever works for you , sounds the way you want it, and handles the spl's is fine with me. Just sayin that the Sennheiser e602 is right up anyone's alley, that wants a bulletproof bass drum mic.
In addition, I must say that I had remarkable success with relatively cheap Herald Pencil mikes (cardioid dynamic) for years , without a hitch.
One need not spend a fortune for decent sounding mics.

[Andy B]

Originally Posted by Tainojim

There are four different mics suggested by the Sound Pros. Whether your on a high or low budget, you can do the best with what ever you have. Still the best approach is still trial and error depending on the acoustics of the room and mic placements.

SNARE:
Top - Shure SM57
Bottom - Shure SM57, AKG 452, Neumann KM 184

TOMS:
Sennheiser 421, AKG 414, Shure SM 57, Blue 'The Ball" (any model)

BASS (Kick Outside Mics):
Preferred Mics - AKG D112, AKG D12, EV RE-20
Other Mics - Blue "The Ball".

For particular Kick recordings, some prefer one mic inside the res head and another outside at the same time.
INSIDE: Sennheiser 421
OUTSIDE: Blue "The Ball" or Neumann FET47.

OVERHEAD: AKG 452, Neumann KM184, AKG 414, Blue - lots of choices.

ROOM MICS: Neumann U67, Blue (lots of choices), AKG 414, or 2 matched condenser mics.

The most important issue about drum recordings is getting the best mics you can afford and Pre-Amps. If you get a decent mixer, they should provide you with good built-in pre-amps.
Mic placement should be about 4 to 6 inches from the drums and the overheads not closer than 2 feet above.

DRUM MICS - WHOLE KIT:
Kick - 1 inside
Snare - Top and Bottom
Toms - 1 mic on top of each.
Hi-hat - 1 mic on top
Overhead - Stereo Mics
Room Mics - Stereo or Mono
Ride Cymbal - Optional
Overhead - Stereo matched pair condenser any brand

5 Mic Setup:
Kick - 1 mic inside
Snare - Top & Bottom
Overhead - Stereo matched pair condenser any brand

4 Mic Setup:
Kick - 1 mic inside
Snare - 1 mic Bottom only
Overhead - Stereo matched pair condenser any brand
3 Mic Setup:
Kick - 1 mic inside
Overhead - Stereo matched pair condenser any brand

ROOM ACOUSTICS: Packing Blankets - GOBOS - Insulation

Notes: Inside the kick is for those who have a hole in the bass res head. Otherwise place the mic about 4-6 inches in front of the kick drum.

Overhead - Stereo matched pair condenser any brand also used for ambiance of the room

Good Luck and Happy Drumming.

yo dude its down personal preference.....for example a

Vintage AKG 190e for Hi-Hats or C451...C451B

i Agree with AKG D12 on Bass drum i have a Vintage 60s-70s one sounds sweet.

Toms AKG D22 or D440

Snaire drum D 40 top and Bottom or a C451 on either end

over heads AKG C451 or C440....

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[Gus]

Sticky requested!

[Tainojim]

Welcome to DSC Andy B.

These are guidelines referred by the pros. Naturally it all goes in accordance to ones tastes. The big deal is affordability vs the likes of the sound. Compensation is then run through the mixer. But then again you knew that.

I'm 59 and remember the old condenser mics that were suspended within a steel loop with springs. I wish I had one now to make me sound taller.