Most of us folks don't bother with "matched pairs". We'll generally use a pair of the same manufacture & model however. Microphones are built consistently enough today that the minutia of difference isn't worth the added expense by the manufacturers willing to provide you with "matched pairs". And typically, most of us don't utilize so-called "stereo microphones" as overheads. Occasionally on a jazz gig I might utilize a stereo miking technique with a pair, such as MS (middle, side). But generally, a pair of spaced cardioid's. So, overhead miking really comes down to the acoustics of the space they're in. If you are in a Premium Room, you may run your overheads up to 8 feet above the drum kit. But like most of us in smaller rooms, you generally won't go more than 3 feet above your tallest cymbals.
Recently, I did a rock-and-roll recording at a friend of mines studio for his band. I'm really a minimalist. Sort of like Rudy Van Gelder but without the fame, success & notoriety (one of the great jazz engineers) That is, I covered the entire drum kit with Kick, Snare & 2 over/unders (that's a pair of small capsule condensers, under the cymbals, above the toms & about 1 foot off the side of the toms). It sounds killer! One of the reasons why I screw around like this is because the more mics's you put on the drums, the more "phase" distortion you'll have. If you can balance things with microphone selection & placement, that's where it's at!
I know, there is another technique that folks like, trademarked "The Recorderman Technique". That's great if you like measuring stuff. I don't. Never have. Never will. I look at the drums. I "see" the sound. I know where the microphones go. That's great if you can see sound? Not everybody can. In those cases, you have to listen. Best damn pair of instructors you'll ever have!
What? Haven't you ever heard of optical soundtracks? (It's OK, I'm just saying that to confuse you)
Easily confusing
Ms. Remy Ann David Van Gelded
