If you haven't already done so, you definitely owe it to yourself to check out Recorderman's drum mic'ing tutorials (Google that name). Remember this: in many cases the fewer the mics you throw at the drum kit, the cleaner the sound due to phase issues.
And... GOOD HEADS
PROPER TUNING
A TALENTED DRUMMER are always the most important elements to get a great drum sound.

Ditto on the Recorderman methods.

Typically, I prefer a ribbon mic relatively level w/ the toms and 3'-10' out - just find a spot that evenly captures the meat of the drums.
Even better, do an M/S pair.
As moonbaby mentioned, the FOK mic can be incorporated into recorderman methods.

I don't usually use just a FOK mic, but it's a nice substitute/alternative to room mics, or in combo w/ OHs or two mic setups.

The Recorderman technique is actually my favourite overheads setup. Especially in rooms with low ceilings!

I read a post on Gearslutz from producer / engineer Peter Katis (The National, Interpol) where he says that on some songs he used close-miking (kick, snare, toms) plus FOK mics only, without overheads. It was just not clear whether he used one or two FOK mics. I think this is an interesting approach.

I would think that using two overhead mics and two FOK mics would cause some phase issues.

I like a condenser out in front of the kick. As well as a great dynamic inside. I have been using the Kel HM1 outside slightly above the rim of the kick pointing down a bit. I have used several other mics and have had good results but the Kel has a great frequency curve to it and I have used it alot in the last couple of years. It ceretinly cuts down on tom micing doing it this way and you could get a seriously good kit sound with only this, and a couple of overheads spaced. I still like the snare close mic'd but only because it gives me a a lot more control. Go to http:// for some samples of this technique.

Davedog, post: 352145 wrote: Go to Franco Paletta and the Stingers for some samples of this technique.

Hey...fancy home page there ;) I can see that this technique works well for this kind of sound...very natural sounding.

This may be a dumb question but I was asking myself why people don't use two FOK mics instead of overheads more often. Is it because the cymbals sound better when miked from above? I was thinking that front of kit miking comes closer to the way we actually hear drums. Or have you ever listened to a drummer from above his head?

gunsofbrixton, post: 352188 wrote: Hey...fancy home page there ;) I can see that this technique works well for this kind of sound...very natural sounding.

This may be a dumb question but I was asking myself why people don't use two FOK mics instead of overheads more often. Is it because the cymbals sound better when miked from above? I was thinking that front of kit miking comes closer to the way we actually hear drums. Or have you ever listened to a drummer from above his head?

Not my artwork....I'm just the producer and mixer........With the Blues you cant really slick it up too much or it loses the authenticity.

I have done recordings with nothing but overheads....two out in front and two behind the drummer. The Franco stuff has the room mic above and behind the kit in a vaulted room. That track has everything you need for the drum sound except the immediate kick sound and the high impact of the snare strike, but if you didnt care about that you could use the ONE overhead to capture all the drums.

Listening from above and behind is a better place to find the drums.

I will use two FOK mics as you call them at about 3-4 feet up from the floor and spaced as a stereo pair. That and one overhead is also enough for everything.