Also: if there's a piano involved, and you don't have a separate room for it, don't go crazy putting it as far away as possible from the drums to kill the bleed. Instead, put it right next to the kit. It's counterintuitive, I know, but the bleed will be WAY more natural sounding, and if you're careful about phase and microphone directionality, the bleed will actually work in your favor.
As for OHs, I really like a nice pair of omnis near the drummer's ears, or just above them. Earthworks are nice for this, particularly the TC30s. That'll give you a fair amount of room sound, really nice and natural stereo imaging, and the drummer's perspective of his own dynamics. If he's any good, you can't go wrong.
If the SDC vibe doesn't work for you, a spaced pair of tube mics is tough to beat. Measure so that they're equidistant from the snare and kick, and make sure the ride and hats sound GREAT. Remember, jazz drums are all about the ride and hats, NOT kick and snare.
...wait...did you even ask for any advice? Shit. I hope so, otherwise I'm just being an ass.
Whatever. Good luck, have fun, and post some rough mixes when you're done!
__________________
Quote:
Originally Posted by peeder  Vanity (and porn) built the web, and it reached its hideous apex on myspace.com... |
In the can/on the horizon:
Aerosmith, Jules Shear, The Dresden Dolls, James Montgomery, Steve Smith, Solace, Jim Jones, Mike Stern, Smif n Wessun, DJ Kurrupt, Dave Weckl, Dixie Witch, Dipset, The Skatalites, Roadsaw, Tony Furtado, Ironweed, Never Got Caught (Clutch and Tree), Elisabeth Whithers, etc, etc, et ceteraaaa...