Drum Micing Components and Mics Circadea

Technique...
 Sennheiser MD421 was on top, and a Shure SM57 was on the bottom. We use a phase cable between the top and bottom mics
so we only have to use one mic preamp for each tom. The hi-hat mics were either a Shure SM58 or a Neumann KM 84.
For a more midrange sound, I use a SM58. And I also use a mic between the kick and snare that we call the “kick-snare”
mic—a technique was shown to me by Alex Gibson at A&M studios. It’s just an AKG C 414 B-XLS that sits on the beater side of the kick drum.
You put it in a figure-8 polar pattern, and it catches the bottom of the snare and the front head of the kick to produce this amazing low end
The room mics are typically a pair of Coles ribbon mics, or maybe a stereo pair of Neumann M 49s.    

This ia a cross-wired adapter. Add these to one leg of your y cable to change the phase of one of the mics in a dual micing scenario such as micing the snare top and bottom on one channel or micing a pair of  ride toms on one channel.

Drum Mic Kits

Not quite as adaptable as the mic eze clamp but less to go wrong.

Add Aircraft Nuts to bolts in order to these to keep wing nuts captive.

Mic Stands

AKG 414
SM 58
SM57
MD421
Snare micing setup.
2 Mic Eze Clips
2 Drum Mics
1 Phase Reversing Short Cable
1 Y adapter