Posted on Dec 04 2018 07:41 AM
Since a picture is worth a thousand words, here's about 4000 for you...
The first pic is from a tracking session. The Deluxe is close mic'd with an Electro Voice RE10. It's a dynamic mic. I'm going to be a contrarian and say I generally avoid SM57's as I think they sound a little nasally and they are so common, They're kind of boring and predictable, plus the current ones don't sound as good as the old ones. They're good mics none the less, and you can get fine results out of them, but they arent my first choice.
I place the mic somewhere between the cone and edge, and I move it around until I like the sound. No real science there. The RE10 has almost no proximity effect which helps finding the sweet spot while retaining the lows.
The Bassman is being mic'd in this instance with an EV635, which is an omnidirectional interviewers mic and you can literally hammer nails with it!
In this next pic is the same Bassman mic'd for an overdub with a condenser, a Neumann tlm 102 (great entry level Neumann, you can find them used for as low as $400!). Same process here, move the mic around till it sounds good. If you use a condenser, use the pad on it if it has one as condensers can easily overload and distort.
Here's another bassman mic'd with a ribbon, in this case an RCA77d. Ribbon mics do distance really well (plus you don't want to blow out the ribbon, so distance is recommended). In this instance it's about 3 feet from the amp. The Nady mic you mentioned is modeled on RCA's and sound amazing for such a low priced mic. I have the Apex branded version and I love it, definitely holds its own, you really can't go wrong there. There are some mods for it to make it sound even better: https://homerecording.com/bbs/special-forums/diy-mods-and-homebrew/modding-nady-rsm-4-ribbon-mic-269702/
Ribbons aren't the best idea for loud close mic'ing though (unless it's a Royer).
Regardless of which mic you use, the main thing is understanding a microphones polar pattern (what it "sees") and the frequency response (what it "hears") and choosing accordingly. I subscribe to the "fix it in the mic" philosophy and don't even touch an eq until all the mic choice and placement possibilities have been exhausted
I also favor the Glyn Johns method for drum mic'ing. In this case, we're using ribbons on top as far away as is reasonable. The kick drum has an AKG D12 which has the perfect 50 - 60hz bump for kick drums. On the snare is a Shure 545, the precursor to 57, and much better sounding. They ve reissued these, although I don't know what they sound like. You can still find the originals for pretty cheap though. The 58 type mic in the foreground is just a talk back mic and not being used for recording
A couple of things about the Glyn Johns Technique to be aware of:
It's essential to get the overheads equidistant from the snare otherwise they will phase cancel.
Cymbals can get a little washy, so the drummer really needs to watch how hard they hit them.
You should also record the drums using this method with the preamps cranked a little bit more than normal.
Hope you find this useful! Here's the man himself demonstrating his method: