I rotate quite a bit but there are a few standard mics that I like to use.

CMV563's (omni) in the corner of the drum room, behind the drummer. I was told Mr. Albini used CMV's in the corners of the main performance area at Pachyderm for the 'Inutero' album.

Binaural Head w/pencil point Audio Technica's embedded in the ear canals, (mostly a substitute to the KM184's). They push between 4K-8KHz and 20 to 80Hz. They get good top and bottom without being muddy. Mixes in well when slightly compressed in the mix. Really brings out the bottom from the kick and the sheen from the cymbals.

KM184's for overheads/room -- I generally don't place them in any specific way it's dependant on where they go to get the grizzle out of the cymbals that the CMV's don't.

Blueberry on the snare (side of shell) -- picks up some hi-hat and kick but it gets a good brightness out of the snare mixed in with the overheads/room. And it helps the kick have a little extra punch.

ATM23HE's for the high toms. I still have yet to hear something better than these mics on toms, airy yet punchy. The Sennheiser 609 is a close second to the ATM23He's.

ATM63HE or SM7 for the floor tom. Pretty much anything I've thrown on the floor tome sounds good, if the Floor Tom is tuned correctly of course. Sometimes I'll use the e609 if a ride cymbal is really close by.

For the kick it's a crapshoot. Here's what I'll try in order; D112, SM7, SM58, Blueberry, U87, SM90, or my Binaural Head. Then it's up in the air if I don't like those or it's back to re-tuning the kick drum.

--Adam Lazlo

Anyone any experience with this distressor thingy ?(http://www.empiricallabs.com/)
Just came across this distresor thing and dunno it.
Need good (not too expensive) compressor.
Any good tips?

christophe

sorry wrong discussion fellas
sorry

mics ...uh...
dunno

man, somebody here is gonna think i'm crazy...

but... and this is mainly for the '"i'ze on a budget" folks in the house... i usually do the dave fridmann two mic method, and occassionally i have been known to also individually mic the snare. well both for the overhead in the two mic situation and as an individual snare mic i have really loved the sound of an oktava mk-319. i shit you not.

it is almost like the mic in those situations takes on a beefy quality. especially as the overhead mic. everything just sounds kinda darker and provides an illusion of warmth. then in the mixdown a little compression can bring out the ring of the snare (if you want) or the brightness that has been subdued by said mic.

now the crazy talk may ensue...

order of preference...

Overheads: e22S or R84

Snare: top-sm57 bottom-mk012

Toms: top- md421 or e22S bottom- e609S or e22S or mk012

Kick: d112 or atm25

HiHat (seldom): akg460 or mk012

-keith-

I have been having great luck with a stereo pair of Beyer M-500's as overheads and also am happy with a Shure SM-7 on the top snare. I am still working out the other mics, though an RE-20 has done well on my kick lately.

pzm's for everything.

u87 in bass drum

lomo for some toms

schoeps for some stuff

altec for things.

lawson for other things

its all subjective.

no 57's no 58's

some sm-7's

telefunky hitler on hitler.

For Rock...

Kick - Lawson L47fet, 414, D12
Snare - sm57, Beyer201, 414
Toms - 421, 4033, 414
Hat - sm81, 460
OverHeads - Royer 121, C12, U87, km84 or 86
Room - B&K, 414, km84

I just did some surf for my project... Here's what I used..

A Sony C37A Tube Mic in front of the kit as a mono overhead in a lively room.

The Pink Floyd mic. On everything.