Coming from a more recording-oriented stance I'm gonna have to differ on a couple of his suggestions. Either way you go (live or studio) I've found that I prefer a Beta 52 over a D112 for an all-around rock sound. The Audix D6 sounds like it kicks EVERYONE's ass at being a heavy-sounding rocking bass drum mic. For toms, 57s are great to catch the snap of the stick but they leave something to be desired in the nice full bassy sound of some toms. I suggest getting a nice pair of condenser overheads (MXL 603s for $169 a matched pair!?!?) to make up for the 57's lacking upper bass range. You can completely bypass this step and get the absurdly rad-sounding Sennhieser e604s at $300 for a three pack. They sound like condensers and stand up to a lot of banging. Always 57s on the snare, but try a condenser in there too and see what cool sounds you can get, maybe place one pointing right at the side of the snare (the shell). Make sure you spend ample time figuring out phase-correlation when recording, it will save you a ton of EQ headaches later. I suggest adhering to the 3:1 rule.
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Hey, SuperCoolSlides suggestions are great, especially for live stuff. He gave a great list of durable gear that will get the drum sound to ring through well.
Coming from a more recording-oriented stance I'm gonna have to differ on a couple of his suggestions. Either way you go (live or studio) I've found that I prefer a Beta 52 over a D112 for an all-around rock sound. The Audix D6 sounds like it kicks EVERYONE's ass at being a heavy-sounding rocking bass drum mic. For toms, 57s are great to catch the snap of the stick but they leave something to be desired in the nice full bassy sound of some toms. I suggest getting a nice pair of condenser overheads (MXL 603s for $169 a matched pair!?!?) to make up for the 57's lacking upper bass range. You can completely bypass this step and get the absurdly rad-sounding Sennhieser e604s at $300 for a three pack. They sound like condensers and stand up to a lot of banging. Always 57s on the snare, but try a condenser in there too and see what cool sounds you can get, maybe place one pointing right at the side of the snare (the shell). Make sure you spend ample time figuring out phase-correlation when recording, it will save you a ton of EQ headaches later. I suggest adhering to the 3:1 rule.
Coming from a more recording-oriented stance I'm gonna have to differ on a couple of his suggestions. Either way you go (live or studio) I've found that I prefer a Beta 52 over a D112 for an all-around rock sound. The Audix D6 sounds like it kicks EVERYONE's ass at being a heavy-sounding rocking bass drum mic. For toms, 57s are great to catch the snap of the stick but they leave something to be desired in the nice full bassy sound of some toms. I suggest getting a nice pair of condenser overheads (MXL 603s for $169 a matched pair!?!?) to make up for the 57's lacking upper bass range. You can completely bypass this step and get the absurdly rad-sounding Sennhieser e604s at $300 for a three pack. They sound like condensers and stand up to a lot of banging. Always 57s on the snare, but try a condenser in there too and see what cool sounds you can get, maybe place one pointing right at the side of the snare (the shell). Make sure you spend ample time figuring out phase-correlation when recording, it will save you a ton of EQ headaches later. I suggest adhering to the 3:1 rule.
