Recording drums with two mismatched condensers and a 58?

[Jamesemt]

I'm going to start track recording our rehearsals with a Zoom 24 (8 inputs) and have 3 channels for the drums - we have 2 guitarists and the singer plays occasional guitar too, hence not able to stretch to 4 drum mics. 

 

I own a cheapie large condenser Samson C01 and an AKG 170 small condenser. The singer has a spare SM58 I can use... 

 

Does anyone have any advice? Was thinking close mic the snare with the 58, AKG on the kick and the large condenser as a mono overhead. If so, where should I place the overhead? 

 

Thanks. 

[Doctor J]

https://drummagazine.com/how-to-record-a-drum-set-with-three-microphones/

[Jakester]

I often gig as a drummer using only a kick and overhead mic, or kick and two overheads. 

 

From the mics you mention you have, I would put the SM58 on the kick (as it's a dynamic mic so less likely to be damaged by higher SPL), ideally inside a few inches away from the point at which the pedal impacts the head, and use the large diaphragm condenser as a mono overhead about 2 - 3ft above the centre of the kit, and use the small condenser to highlight anything you particularly want to pick out (i.e. snare, or ride, for example).

 

Another option might be to use the SM58 on kick, AKG as overhead, and the Samson a few feet in front as a 'room' mic. Or you could try and approximate the Glyn Johns/Recorderman setup with the SM58 on kick, one OH directly over the snare , and the other an the same distance from the snare drum but at 90 degs over by the floor tom. 

 

You should get pretty useful sounds just from that setup, and if you need to reinforce something (like toms, for example) you can always go back and overdub those parts close-mic'd. 

[Jamesemt]

Thanks for both the replies - plenty to think about!! 

Edited November 20, 2023 by Jamesemt

[Dad3353]

Any and all of the combinations mentioned above are worth experimenting with, if you've the luxury of time, and a decent environment to record in. @Jakester's first suggestion makes the most sense to me as a starting point, and should give decent results with the combination of mic's available. I wouldn't put the bass drum mic inside, but it's all a question of 'suck it and see', really. No need to go mad, either; the differences, in a 'domestic' recording, are not going to be so flagrant as to be deal-breakers. Try the simple solution first, then play about with distances and positioning, then just concentrate on playing, and ignore the mics from then on. The mic's chosen may not be the ideal preference for a studio engineer, but will do a fine job, I'm Shure. 

[Jamesemt]

Ok thanks for that