Here's a angle for you. I track -typically, with a pair of kit' mics- happen to be a wide side placement but irrelevant, kick, snare, hat sometimes, and some option' adds like mono FOK, room what have you.To loud? Can you post a clip? I'm actually interested in hearing it. I've never heard anyone complain of the snare being to loud in the OH before, it's usually the high hats.
I've come up with quite a little selection of comp/limiter schemes as a result. All in part- aimed at eking out the sound of 'a kit' setting apropos for the mix.Farview said:But for tracks you have already recorded, your only hope will be a lot of compression.
I agree with Farview that if tracking is already finished, limiting or compression with zero attack will easily trim down transient peaks.
To answer your question, a dead-ringer (a flat tone control ring,) on the snare head will tame it down some. Otherwise, the snare may be tuned too tightly.
However, if you like the snare sound, but don't like the results of that recording method, then you've either chosen the wrong method or have not tweaked it enough to suite. Tilt the OH mic away from whatever is too loud and more toward whatever is not loud enough. Add another mic or two if necessary and/or close-mic whatever items you want sounding bigger. There are no rules, only results.
I used both the 421s for kick over the years. They are two slightly different flavors of the same thing. I always used anot her mic outside the kick along with it, because it always seemed a little things. (But I really liked the attack the 421 got)
I wouldn't get hung up on finding a vintage one. They aren't that different. The older ones are more mellow, but who knows if they were that way originally, or if they just get that way after 30 years...
If adjusting your playing isn't an option
...then perhaps you should try recording a real musician.