Getting the most out of my snare.

[Muffin]

I've been looking for different ways to get the best recording out of my snare. I have a very punchy 14x5.5 acrylic snare(I made it myself) that I'm trying to get the full dynamics of it.

I have 2 mics to work with, a Shure SM58(mic stand) and a Shure PG56(rim clip).
Lately I've had the SM58 on top(roughly 45 degrees an inch above the skin) and the 56 clipped to the bottom(pointing towards the center of the wires).
These mics may not be the best for this drum but it's all I have.
What other positions would assist in getting the full sound of my snare? Should I swap the mics? Certain angles or placements?

 

[M1Fanatic]

Try placements with only one or the other and see if it improves. You may be getting some phase cancellation with one on top and one on the bottom.

 

[EdWonbass]

Your bottom mic might be a little close if it's on a clip. I like to get the top mic up about 3-5 inches up and just at the edge of the rim and aim it at the center.

 

[Muffin]

The clip that I have can raise the mic quite high, I think it would work with the clip. I guess I'm more curious as to which mic would be best for top or bottom. I've seen both used in both variations. I really just want to capture of the attack of the snare.

 

[mixsit]

Try placements with only one or the other and see if it improves. You may be getting some phase cancellation with one on top and one on the bottom.

Agreed but to expand, the tone' will ultimately also come down to relative mixes of all three combinations -over head, and both or either snare mics. On top of that are the placements -the close mics in particular (as always when the sources are close) see the largest tone changes with small position changes, plus the phase/combing tone combinations of their relative distances. The depth of these phase changes are in their relative mix (i.e. if the overhead is mostly cymbal' and pulled back in the mix, snare 'hot, o/h has less influence on snare' sound.
Just to tweak on this phase thing a bit more, consider; the picture the overhead sees –radiation directly up from the top skin up' (for simplicity), the close mic –damned near 90 degrees from the side (+ whatever time difference you've set), and the rule- all frequencies can never be 'in phase' again at any distance difference but 'zero.
Throw in the polarity swap options.

The PG' looks to be a little less scooped with a broader top rise than the 58. Both will do similar proximity effects (likely). I'd say try varying the top position first –in or at the skin = Big Bop/Thick', towards the edge' gets more balanced'/slightly lighter', move down into the side –starts sounding like it does to the listener'.
One option; PG middle of the side a few inches out (this is a very interesting spot IMHO ) plus the top' mic. Play them all/or one' in various mixes.