I also would try the AKG on the guitar and the 57 on the kit. The guitar amp is gonna come through no matter what. We've just got 2 mics to work with so there's not a lot of fussing that can be done, I love situations like this. Where you just make the best of what you've got. I've found that a single condenser on drums is going to be more likely to accentuate the less desirable aspects like washy cymbal sizzle and potential room noise (dehumidifier, furnace or freezer kicking on, etc.) and lots of uncontrollable bleed from the guitar amp. A lot comes down to placement, of course, but I've had good results doing demos with a single dynamic mic on the kit. I'd start with the 57 on a stand about 5 feet out from the kit, maybe 3 feet high, pointed more or less at the drum stool. Just my 2 cents.

Tom Wanderer wrote: Fri Nov 11, 2022 7:40 am A lot comes down to placement, of course, but I've had good results doing demos with a single dynamic mic on the kit. I'd start with the 57 on a stand about 5 feet out from the kit, maybe 3 feet high, pointed more or less at the drum stool. Just my 2 cents.

I like this placement but would still do it the other way around with mics (AKG on the kit). A SM-57 distant from a source won't take advantage of the proximity effect, a way of getting the most out of a cheap dynamic mic. And then the figure 8 setting of the AKG can become a room mic for the guitar amp.

Experiment away, of course. And more important in this scenario is controlling the band dynamics and volume, and getting as much strategic separation as you can.

Tom Wanderer wrote: Fri Nov 11, 2022 7:40 am I'd start with the 57 on a stand about 5 feet out from the kit, maybe 3 feet high, pointed more or less at the drum stool. Just my 2 cents.

This seems like it would just have the mic facing directly at the rack tom on top of the kick drum. Should I point it so it can 'see' around the rack tom, like not directly in front?

bigc wrote: Fri Nov 11, 2022 9:29 am

Tom Wanderer wrote: Fri Nov 11, 2022 7:40 am I'd start with the 57 on a stand about 5 feet out from the kit, maybe 3 feet high, pointed more or less at the drum stool. Just my 2 cents.

This seems like it would just have the mic facing directly at the rack tom on top of the kick drum. Should I point it so it can 'see' around the rack tom, like not directly in front?

Nah, don't stress the visual line. Sound is not nearly that linear. If anything's being blocked by this position, it's the snare and unless your drummer is a VERY light player, you aren't going to have any problems w/ it not being heard.

Again, your biggest challenges w/ getting a decent sound out of a minimal mic setup are going to be 1.) the drummer & how well they control their dynamics to the recording 2.) the room acoustics & bleed vs guitar 3.) mic placement (also concerning bleed vs guitar) and 4.) managing expectations.

Everything we've mentioned should be plenty to get started. Don't expect studio quality, do expect to get close enough and just go w/ it. Don't drive yourself crazy trying to min/max everything, just find a spot where it seems pretty reasonable and have fun.

Garth wrote: Fri Nov 11, 2022 9:35 am Nah, don't stress the visual line. Sound is not nearly that linear. If anything's being blocked by this position, it's the snare and unless your drummer is a VERY light player, you aren't going to have any problems w/ it not being heard.

Again, your biggest challenges w/ getting a decent sound out of a minimal mic setup are going to be 1.) the drummer & how well they control their dynamics to the recording 2.) the room acoustics & bleed vs guitar 3.) mic placement (also concerning bleed vs guitar) and 4.) managing expectations.

Everything we've mentioned should be plenty to get started. Don't expect studio quality, do expect to get close enough and just go w/ it. Don't drive yourself crazy trying to min/max everything, just find a spot where it seems pretty reasonable and have fun.

Got it. Thanks all!

Garth wrote: Fri Nov 11, 2022 9:35 am

bigc wrote: Fri Nov 11, 2022 9:29 am

Tom Wanderer wrote: Fri Nov 11, 2022 7:40 am I'd start with the 57 on a stand about 5 feet out from the kit, maybe 3 feet high, pointed more or less at the drum stool. Just my 2 cents.

This seems like it would just have the mic facing directly at the rack tom on top of the kick drum. Should I point it so it can 'see' around the rack tom, like not directly in front?

Nah, don't stress the visual line. Sound is not nearly that linear. If anything's being blocked by this position, it's the snare and unless your drummer is a VERY light player, you aren't going to have any problems w/ it not being heard.

I have noticed this position can pick up a lot of bottom snare wire, but that may just be something you have to live with for the greater good. (I also just don't like bottom snare-heavy sounds I suppose)

penningtron wrote: Fri Nov 11, 2022 10:24 am I also just don't like bottom snare-heavy sounds I suppose

SAME. I absolutely never want to mic the bottom.

tommy wrote: Fri Nov 11, 2022 10:58 am SAME. I absolutely never want to mic the bottom.

I came around to it (for some extra air & realism), but it's very low in the mix.. like, -15db below where the top mic is set. Certainly not essential if you're low on mics or channels.

I found this video pretty fascinating and inspiring - it’s amazing what can be done with just 1 mic on drums, although he does use a few different configurations of kick and snare and clearly has the chops and technique to make the most of this.

tommy wrote: Fri Nov 11, 2022 10:58 am

penningtron wrote: Fri Nov 11, 2022 10:24 am I also just don't like bottom snare-heavy sounds I suppose

SAME. I absolutely never want to mic the bottom.

Bottom snare heavy is grotesque. A pinch of it on some mixes can be the difference between a snare that says "tok" and a snare that says "crack" if you'll excuse my drum parlance. Apply according to circumstance and goals.