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A couple of things to keep in mind. The Glyn Johns Techniquie that this is based on or copied from is not sacred. I know from looking and pictures is that Glyn very often never actuall put them exactly the same distance from each other. He just did what sounded great and matched gain to get them the same.
Also a friend of mine assisted on some Ethan Johns sessions (Glyns Son) and he usually used to U-67's an NEVER had them the sam distance. Listen to Ray LaMantagnes record. That is the set up and it sounds amazing.
In todays world of big drum kits and LOTS of cymbals it may not always be possilble to get everything exactly the same distance. Watch out for the "Over Tom Mic" being in the way of the cymbals and watch out for the wooshing/phasing sound that you get when the cymbals are to close to the mic and they phase in the pattern of the microphone.
Most of all depending on the drummer find the spot where the coverage is the best and then save yourself a suicide attempt and check them in mono before you continue. As a matter of course always do this with a drum kit regardless of whether you use 3 mics or 30. You will be amazed at what you find and if you catch it early on you can not only make your drums sound a thousand times better but can also make small adjustments that will make your drum kit sing!!!
It is a great technique that doesn't always work for everything but can work really well for most applications.
Use your ears and experiment with variations. You can make it work but don't just stick with the hard and fast rules. Break them.
It is not a spectator sport! It is a listening game!
Michael Greene
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