Miking an instrument as complex as a drum set can be quite a daunting task. The simplest way to capture the essence of the drums is to employ a pair of high-quality condenser mics, a great sounding room, and a good drummer. Place the mics (generally cardioid pattern) in an X-Y configuration about 10' away from the kit, and adjust the height to balance the overall sound of the drums. There are no hard and fast rules - it all depends on your room, the drummer's technique, and your mics. The advantage to this approach is that it gives the drums a chance to "bloom," blending the sound a bit and gathering some room tone in the process. It also captures the true performance of the drummer, so it's important that they play with balance and accuracy - it's a lot harder to fix this in the mix. You can also use less expensive condenser mics, although the overall sound will not be quite as good as when using higher quality mics. 

Many times you will want more control and detail in the drums than overhead mics will deliver. That's where miking the individual drums comes into play. Since the bass drum and cymbals are covered separately, this section will concentrate on the snare and toms, including drum treatments, mic selection, and placement. 

The Snare 
Because of the close proximity of mic to drum, placement is extremely important to the final sound. Start with a dynamic mic approximately two inches from and above the rim, with the mic aimed toward the center of the batter. Have the drummer play the snare at various dynamic levels, and listen for ringing, rattling, and general tone. If the batter is ringing, use muffling rings or break out the duct tape and a handkerchief. For rattling, make sure all fittings are tight and nothing (especially the mic!) is touching the body of the drum. If you've got a loose part and tightening is not an option, pull out that duct tape again! 

To keep the snap in the sound without reaching for the EQ, mic the snare side, too. Position another mic an inch or so from the snares, and flip the polarity switch on your mixer to reduce or remove phase cancellation with the signal from the upper mic. 

The Toms 
A good starting point for rack toms is to mic them much as you would the snare drum. Use a dynamic mic about four to six inches from the batter, angled toward the center of the head and away from other drums for a tight, close sound and good separation. A dynamic mic will also withstand high-SPL drumming and the occasional whack upside the capsule with a drumstick! However, if you're willing, able, and your drummer isn't an all-out thrasher, a good condenser offers a rich, detailed sound. 

Approach the floor tom in a similar manner, but be aware of the frequency-range crossover between it and the bass drum. Be sure to direct the tom mic such that it doesn't capture the kick. Don't bother with miking the bottom of the toms - the time it takes to tweak and balance the tone is not worth what it might add to the mix.

For more information regarding bass drum miking, Click Here.

For more information regarding cymbal miking, Click Here.