A condenser, of course, will not handle high sound pressure levels as well as a dynamic mic; so be sure to check levels and apply a pad at the mic or pre-amp if necessary.In any case, the mic should be positioned close to the edge of your snare for the best harmonic complexity, but secondly to protect the mic from being hit! When not at work he enjoys playing the guitar, producing music, and dabbling in DIY (preferably with a good craft beer or two). Microphone Placement Tonal Balance Comments Aim microphone down towards the cymbals, a few inches over edge away from drummer (Position G). For those of us with a little less experience, it's useful to start with some tried and tested methods, from which, you can adjust to taste as your experience grows. The most common is referred to as the A/B technique. For more on dynamic vs condenser mics on toms, check out our previous post on the topic.Hi-hat - I've left this piece until last, because typically, a well placed pair of overheads should be more than enough to capture a nice crisp hi-hat. Saying this, for certain genres – particularly modern rock or metal – everything is close miked, and this includes the toms.Much like the snare drum, using a dynamic mic will deliver a full, fat sound, with less spill. Phase problems are a whole separate topic, but, in short, try flipping the phase inversion switch on one channel if your mixer or audio interface allows. The whole kit. The three best locations for this rather important piece are as a room mike, a drummer’s perspective mike, and a front-of-kit mike. Much like our Led Zeppelin example mentioned earlier, this technique is particularly effective in capturing the attack and dynamic range of the drum kit.If you decide this approach is right for you, it's best to start with the overheads. A poorly setup and tuned drum kit, will only ever produce a disappointing result; no matter what trickery you apply with microphone placement and mixing techniques. At the very least, conduct some research first; paying close attention to the kind of drum heads and how they're tuned. The tricky thing about drum mic placement for sound reinforcement is figuring out exactly what you need to mic up. If neither sounds good, you might have a phase problem and will need to experiment further with mic placement for a better result. Failure to do so can result in a weak sounding recording. This guideline helps to reduce the audible effects of phase cancellation to a manageable level. With a snare drum, the phase relationship between top and bottom is invariably out of phase, so you'll want to flip the phase switch on one channel.As for dynamic vs condenser microphones on snare drums, the general consensus is that dynamic mics capture weight and body, with greater isolation from other drums. If neither sounds good, you might have a phase problem and will need to experiment further with mic placement for a better result. Two very different approaches apply here: 1) Embrace the natural acoustic qualities of your room. Typically, an experienced engineer will use just 2 overhead microphones with additional close mics – usually on kick and snare – to plug in sonic gaps. Once again, whenever two microphones are used to capture the same sound source, phase coherence can become problematic. For multiple microphones the rule states that the distance between microphones should be at least three times the distance from each microphone to its intended sound source. When it is necessary to use multiple microphones, phase problems can be minimised by using the 3-to-1 rule. Or angle snare drum microphone slightly toward hi-hat to pick up both snare and hi-hat. First things first, this approach only works with a great drummer in a fantastic sounding room. Listen for which setting sounds 'fuller' or 'stronger' and select that option. In a close-mic multichannel drum recording application, you'll likely find that the overheads work better closer to the kit than you might otherwise try in our first, more minimal approach. This approach involves 2 mics positioned to the left and right of the kick, which helps pick up much more of the room sound with a wide stereo image. They are also particularly adept at handling high sound pressure levels.Microphone techniques for kick drums vary greatly from engineer to engineer and from genre to genre. The same cannot be said for natural ambiance. As the overheads will primarily be used to capture cymbals, it's better to place the overheads directly above the kit. Although there are no right or wrong ways to go about this, having some understanding of how the cymbals resonate will help you make an informed choice.Cymbals radiate their sound above and below, whereas the hi-hat resonates horizontally. Have the drummer play the kit just as they would during the recording. The room position (a minimum of 10′ from the kit) has the most ambience and sounds farthest away. The X/Y techniques inherent phase coherence is particularly valuable when using lots of mics on a single kit. If you’re in a small space, then there’s a good chance you won’t need to mic up the kit at all. Kick Drum - The vast majority of kick drums are recorded using a dynamic microphone, and ideally using one that's purpose built for the job. As a general rule of thumb, placing your mic inside the kick drum and pointed towards the beater will capture lots of attack, while positioning further back – or even outside the drums resonant head – will increase low-frequencies.