This is from Terry Date himself (Pantera, Prong.. etc)
Terry Date: On drums, I will use ambient miking. My drum miking is pretty standard. With the snare, I tend to use a [Shure SM] 57 on the top head only, in a position where I can get as much rejection of the hi-hat as possible. For the kick drum I use
an Audio Technica ATM25. Usually we use two heads on the kick drum. Sometimes, if I want a tighter sound, I'll take the front head off. But I almost always quilt the kick drum pretty heavily. I'll make a little tunnel with the packing blanket so I can keep as much of the high-end cymbal stuff out of the kick drum as I can. So if I want to add high end to the kick drum with EQ, I'm not bringing up high-end stuff from the rest of the drums. And if you quilt the outside shell of a kick drum really heavily - right underneath the rack toms - the kick drum mic won't pick up as much of that rattle and hum that you always get with big rack toms. So if I make a tunnel out of the quilt, the front head has room to breathe, but I can keep out other sounds so I might not have to gate the kick drum. Then I can control the sound of that with EQ and compression a little bit more.
And then I usually use a Sennheiser 409 on each tom. It's a square lollipop-looking mic that they don't make anymore. But I'll put those up strictly because they fit so well underneath the cymbals. You can get them right on the tom head and keep your cymbal bleed out of the way a li
ttle bit. And for the hi-hat I'll run a [Neumann]
KM 84, or sometimes a '57.
Then for overheads, I'll kind of see what's left. But I'll typically end up with
67s or 87s - some kind of Neumann tube mic. I'll just put a stereo configuration up over the whole drum set and make sure I get all the cymbals.