Don't have any pictures, but have you tried the setup with the string? I think it was on the YouTube video. I know I heard about it about that time. I now keep a piece of string with gaffer tape at the two ends and another piece where the mics go by the kit. Makes it a snap to sweep out the entire circle of positions where the snare and the kick will be in phase.

For those who haven't heard the method:
1. Put the first overhead directly above the center of the snare. The height is up to you. I think the original recommendation was "two drum sticks."

2. Attach a piece of stiff (not "stretchy") string to the center of the snare with gaffer tape. Hold the string taunt up to the mic and mark the spot with another piece of tape or a knot in the string.

3. Holding the marked spot at the mic, pull the other end of the string taunt down to where the beater hits the kick and attach to the kick with tape. You should now have a "V" of string from the snare to the mic to the kick.

4. You can now move the marked point of the V in a circular arc while keeping the string taunt. If you put the second overhead anywhere on the circle it will be the same distance from the snare and the kick as the first mic. The usual spot is somewhere over the (righthanded) drummer's right shoulder.

I know the theory of the approach. I'd just like pictures to be certain I'm placing and angling everything as it's supposed to be.

Do a YouTube search for it. It's there and pretty accurate.

In the upcoming drum mic shootout, I'll try to do one in the Recorderman method and post the pics.

Patrick, It wasn't really for you. It's just that when a mathematician gets to post on a practical application of the circle formed by the intersection of two nonconcentric spheres it's hard to pass it up. Makes me feel like I'm not goofing off. So just to relieve the guilt over not preparing my lecture right now I'll mention that the circle of equidistant points lies in the plane (1) perpendicular to the line through the center of the snare and the beater point on the kick and (2) containing the mic above the snare. I feel much better.

I'm about to try this. From the video it appears the first mic(left) is more over the hihat. Any input - anybody?
I suppose phase is the big issue here but how about spread - actual distance between mics?
And wouldn't this apply to overheads in general?
will report back as soon as I have "pushed the button"...

I think the original post by recorderman recommended the left mic over the snare. But the basic idea of placing the two overheads so that the snare and kick will both be equidistant to the two mics is the same no matter where you put the left mic. Adjust to taste.

agreed .. the most important part is the equidistance of the 2 mics from the snare and kick drum.

in the video it looks like he puts the first mic about "2 drum sticks high" above the snare. this always causes the 2nd mic to be right next to the drummer's head.

so i usually bring it up higher (3 drum sticks high), which allows the 2nd mic to NOT be in the drummers face... but more above him and out of the way.

Thanks for the reply, Bob. Sorry for mistaking your first post.

I made it pretty clear in my first post that I'd seen the YouTube video, guys (and likely any pictures available on the internet). My request for personal photos from you all is because I haven't been able to make the approach "sing" with the media I've found so far.

Well, I for one am glad you guys posted the video and described it a bit. I've never heard of this technique, and I'm definitely going to attempt it. Unfortuntely, my overheads will be SM57s for the time being...

I'd like to do a shootout comparing a 3:1 setup, an XY coincident and this method. So far I like the XY best, since everything seems to hit the mics at the same time that way, no matter where you play on the kit. But if this makes the snare and kick pop out, it might be very useful.

Patrick, if I do test it out, I'll make sure to snap a pic as well.

I'm not sure if anyone mentioned this (and it didn't occur to me at first), but it should be important to make sure that the vertex of the string is at the exact same position along the string for both mics. You can't let the string glide over your finger when you move to the next mic, you should pinch it.

It might be a good idea to do the usual stuff (tie the string to the kick and snare) but then also mark where the first mic falls on the string. Then, keeping the string tight, move it making sure that mark is always the vertex. This will give you a 2 dimensional circle of possible mic placements, not a sphere (or a 3D ellipse or something?).

Maybe that's where you're going wrong Patrick?

WAY easier than a tape measurer-er