Drums and each of its components.

If the microphones have pads, it is recommended to use them to protect the microphone circuit and prevent distortion.

For OVERHEADS microphones (ideally used in a matched pair), the Neumann KM84 (The abbreviation KM stands for Kleine Mikrofon, which is German for ‘small microphone’ and describes the size of both the diaphragm and amplifier body.) or its nemesis, the AKG C451, are excellent choices. These small diaphragm cardioid condenser microphones work well for capturing overheads, as well as hi-hats and rides.

Alternatively, you could use the Warm Audio WA-84 as a more affordable and quieter (less noise) option. Using these small diaphragm condenser microphones can result in a tighter overhead image, especially if you’re dealing with a lot of room reflections.

For a larger sound picture that covers the whole kit, large diaphragm cardioid condenser microphones such as the Neumann U67 or U87, AKG C414 are recommended. Again, it’s advised to use the pad with these microphones.

Some also like to use ribbon microphones for capturing overheads, like the very popular Coles 4038. They will give a warmer (less highs), smoother sound.

Put them equidistant from the snare, and not from the kick drum. The kick drum is mostly cut from the mix with a high-pass filter, and low frequencies tend to be less apparent when you have phase incoherence.

Depending on where the overhead microphones are placed, different amounts of cymbals and snare can be captured. Placing them forward on the kit can result in more cymbals, while placing them more backward can produce a more overall sound with less emphasis on cymbals.

SNARE

For the top of the snare, the Shure SM57 is the most commonly used microphone. You can also add a small diaphragm condenser, such as the AKG C451 or Neumann KM-84, next to it and blend the two signals. The AKG 414 can also be an interesting option for capturing the top of the snare.

For the bottom of the snare, the Shure SM57 is again a popular choice, but the Sennheiser 441 is also an iconic microphone for this purpose. A ribbon microphone on the lower side can also work well if it’s pointed towards the kick drum with the figure-8 pattern, which helps reduce hi-hat bleed.

To avoid phase cancellation between the top and bottom microphones, make sure the capsules are not pointing straight at each other. They should be at a 90-degree angle to minimize phasing issues, but you may still need to flip the phase on the bottom microphone. Keep an eye out for the bottom end of the sound disappearing when the two microphones are not phase coherent.

BASS DRUM (KICK)

Inside the kick: Shure B52 (Beta 52A) or AKG D12 (or newer D112), in the hole, but placed farther out if you don’t want too much beater sound.

Ken Scott, in the past, used an AKG D20, a vintage dynamic mic. He now uses an EV (Electro-Voice) RE20 dynamic microphone, which is also very popular for bass drum recording. He tends to use it completely inside the kick, close and pointing at the beater for that extra attack.

Outside of the kick: Neumann U47 FET (check out United Studio UT FET 47), placed about 2 inches from the head and adjusted for phase.

Employ the ‘NS10 speaker‘ trick as a microphone for enhancing low frequencies, or alternatively, opt for a purpose-built Yamaha Subkick.

In distant front of the kick (a couple of feet away), for M/S capture, use a Beyerdynamic M160 (Hypercardioid) with a Beyer M130 (Figure-8) ribbon mic or the AEA R88 stereo ribbon microphone.