It’s a great idea to use one or two mics in front of the kit; after all, that’s usually how we listen. Here are a couple of options:A single R-series mic 3-4ft. high about 4ft. in front of the kick. This will pick up the overall sound of the kit and can support your other tracks nicely – compress this mic to stun to add hugeness and compressor pump. Here is Richie Hayward’s kit miked up for a home recording. This method also works very well in large rooms.

An SF-12 or SF-24 stereo mic placed 3-4ft. high, 4-8ft. in front of the kick generates a nice stereo image.

Kenny Aronoff’s kit miked by Ross Hogarth- SF-24 in front of the kit with a Coles 4038 ribbon mic under it. 

Engineer Steve Kempster’s setup – SF-24 8 feet in front of the kit, R-122’s overhead, R-122 on ride cymbal.

Now try the same position with the SF-12 or SF-24, but 6-8ft high. Engineer Steve Churchyard’s mic setup on a Meatloaf Bat Out Of Hell 3 session.

A pair of R-series ribbons split tight or wide in front of the kit as room mics.

Drums set up in Chuck Ainlay’s studio with R-122’s split out wide.

R-122’s close together in the room on a Train session, with an SF-24 overhead.