Give me your drum micing set-ups

Recording?

The dude in my band who knows this stuff better than I do usually puts two overheads (one pointed at ride and one at crash), one snare mic, a mic on each tom, a kick mic OUTside the drum (I hate that slappy attack sound you get when you put the mic in a whole in the head), and two room mics when possible. He likes to rely heavily on the overheads and/or rooms to get full kit sound, which I also prefer. I couldn't tell you the exact mics he uses.

i have always done my overheads the same way as hurting's bandmate and i've since decided i don't like it - i'm doing a mono overhead (either a rented u47 or u67) for my next session. i like using top & bottom snare mics, usually both 57s but i'm going to try an audix i5 and a kel soonish..

i'm not terribly happy with the kick sounds i've been getting, but i use a single dynamic just inside the kick - i think i'll try just outside next time.

i don't like relying on the overheads to catch the toms so i always mic them individually - i love 421's on toms. i don't mic individual hats crashes etc

I read Pete Townshend's comments on the Glyn Johns set-up and it works! The placing has to be exact otherwise you'll run into all kinds of phasing problems.

In short: http://www.danalexanderaudio.com/glynjohns.htm

In the absence of pro studio close-micing (at least one mic on every drum, one 57 above and one beneath the snare, two mics on the kick, one on the hi-hat, and two SM81ish overheads) and subsequent very careful mixing?

I kinda like one of two triangle setups: A. Two SM81ish overheads plus a 52esque something on the kick. Or B. One condenser overhead, a 57 on the snare, and a 52esque something on the kick. For B you sacrifice a naturalistic stereo image of the set, but you have other wacky panning possibilities.

I've heard good things about them blindingly expensive Earthworks three-mic setups that are two overheads plus kick. But: blindingly expensive.

I vaguely like the idea of treating the whole kit as an instrument, rather than eight or ten separate sources that need to be mixed like a big band. But life has ever been, and remains, more complicated than any of us could ever comprehend. And the sound in one's head has ever been, and remains, more elusive than any of us could ever comprehend.

Are overheads basically impossible if you're recording live as a band in a smallish room? I tried a few different set-ups, including with a homemade baffle on the overhead, and got nothing but noise (basically guitar+drums+especially bass congealing into static) through the overhead. I really don't want to get into building elaborate baffles between all the amps and drums and whatnot because I hate that dead sound, I like some bleed, but I couldn't do an overhead mic without it picking up nothing BUT bleed.

It might have been too high over the drum kit.