From a TOMB thread:
FWIW, and I’m strictly a amateur basement recordist, my results on drums was as follows:
Mono drums is OK, and you can adjust balance between, say, kick and snare with gates and EQ; ya might have to sometimes isolate out the snare or kick (I use a track duplicate) and parallel it back in.
Two-mic OH is the same as above, but you can get, obviously, some spread.
Three mic’s with two OH’s and the kick is good, but sometimes ya want to bring up like the snare just during a specific part or fill, and that can be problematic (solvable to some extent as stated re mono, above.)
Four mic’s, 2 OH’s, snare and kick, is pretty damn good altho’ it’s nice to have more control over toms in parts and fills where you don’t wanna raise, say, cymbals, or otherwise change the balance of the OH’s to the other stuff.
Five mic’s is awesome where the fifth is a short room mic and can give ya just that much more general ambiance and specific adjustment (crank it during a fill or part for a different but consistent sound and level).
Spot mic’ing, or even adding stereo rooms, can give lots of options, but mebbe too many, especially with phase and latency issues sometimes arising.
In the low-ceilinged, semi-finished basement I was regularly recording a not-too-even-levels drummer onna mid-level Yamaha kit, I ended up usually going with 2 AT4040’s as spaced-pair, 3-5′ out front, head-high OH’s; E609 on kick; E503 on FT, MXL144 ribbon on room at about 15-20′ and head high; various snare mic’s (usually Beta58); and a “trash” room mic, usually a 635a or RE10 or SM57/58 that doubled as a vocal cue mic from the recording position (most often while I was playing DI bass.)
Also, I did like Glyn Johns (hats off to Greg! ) and Recorderman with the the caveats stated above, and found M/S fascinating but my bandmate(s) hated it, and thought X/Y and ORTF was cool and used them sometimes but with less consistent results. (You can hear those results at the “TFP” link below; track notes are usually included.)
vlayman; THD; blog; TFP