I'm glad that amny of you are having good results with the "recorderman" drum oh micing "technique (as if anyone really comes up with anything unique...). Next time do it another way. The only reason I quantified and posted that was in a way to help some of you, relative to getting good OH's. It was a way to stear you into listening and achieving somewaht proper phase and balance in the kit. But the same thing can be acheived, usually several ways. Also, each Song/drummer/kit/room/engineer/equipment offers challenges that many times are best approched with variations on a theme. So if this technique has helped ytou begin to "see" phase and how it works better. Try it another way. Maybe next time, do a typical spaced overhead setup, more traditional, over the cymbals...very quickly be aweare of certain things. Snare center, maybe. Or see that all of the cymbasl in question are going to get a representation. Also, depending on the type of song and the stregnth of the kit make choices as to what to spend time on reinforcing. In that case maybe some of you have used this technique to quickly get past the overheads and spend more time on the rest of the kit. One thing is for sure, the trend of quick sounds is an expentation more and more. How ironic when now almost more than ever one has more tracks, mics, etc than ever. Geoff Emerick many times took up to 3 hours to get a bass tone four four track. Pluses and minuses. I guess the bottom line of my pint is don't rest, keep listening, learning and striving...and don't get bored.