The methods of miking a battery for registration is subject to change according to your needs and your budget statement.
A limit on the amount of microphones to use may come from the maximum number of channels that your sound-card audio has the ability to accept, bearing in mind that in the case record the drums with other instruments, the number of channels for the same decline further. We start by considering
then the minimum number of microphones needed to get a decent recording. The first case is the one that uses only two microphones. There are two alternatives: to use two microphones, or a panoramic scenic environment and a dynamic microphone for bass drum. The first option allows a good recovery as a whole. I may have elevated vantage on the set, facing down, respecting the rule of 3:1 or making sure that the distance separating the two microphones is about three times the distance between each microphone and the battery below. The other solution is to place one hand over the battery (so as to ensure a resumption of food) and the other in front of the drum at an average height. With the first provision ensures a recovery battery, however, neglecting the stereo bass drum instead will surely better recovery in the second. To get a better shot of the bass drum, instead of using a panoramic, as already mentioned, you can use a dynamic. In this case, however, you will need inside the drum or through a hole made on the resonant head, or totally removing the skin resonant. Obviously the sound will be slightly compromised, however, if the microphone is placed quite close to the door, you will definitely sound more decent. Depending on the distance and height of the microphone from the point of percussion of the swing, you will get a sound more or less full, more or less rich attack. It is up to the tastes of the drummer and sound engineer to find the right position of the bass drum microphone.
Dario Arpino (drums of technical, Nube Azul recording studio)
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