Firstly, the number of drum mics, choice of mic(s) and placement is dependent on style, genre, sound, etc. There is no right or wrong. I've recorded jazz with Glyn Johns mic technique (3 mics even) and I've recorded metal with 24 mics. You can't slam others for using a certain technique or mic setup. It's also about knowing how to measure mic distances, mic placement and how to fix phase issues in post to get a coherent sound. Slamming multi-mic setups just shows lack of diversity as an engineer or lack of skill on how to fix certain issues. Yes, sometimes you need a spot mic on the ride, even in jazz.
One technique doesn't fit all styles/sounds/genres.

 

Last edited: Jun 15, 2019

Yes, thanks for that. Kind of obvious. But who mics up every cymbal??? I really want to know. And I want to know how much of a pain it is. lol That's what I'm "slamming". Not multi mic'ing the skins.
If you can't mic up with less mics, do it however you can to achieve what you want. I believe not being able to mic up with minimal mics shows lack of skill.
One technique can be used on any genre though.

 

Last edited: Jun 15, 2019

Only in Jazz, I imagine.
And I hope we're talking about studio here; not live.

 

10 Miking Mistakes You Should Never Make In The Studio

1. Having No Defined Sonic Goal At The Start
2. Making Uninformed Mike Choices
3. Disregarding Phase Relationships In Multi-Mike Setups
4. Forgetting That Sometimes Less Is More
5. Ignoring The Effect Distance Has On Sound
6. Not Using Microphone Polar Patterns Effectively
7. Neglecting Microphone Filters To Control Sound
8. Thinking Mikes Can Fix Everything
9. Not Adjusting The Microphone Angle
10. Miking Drums In The Studio As You Would Onstage

https://drummagazine.com/10-miking-mistakes-you-should-never-make-in-the-studio/

Just about says it all.

 

The technique? Or the person?

edit: Well anyways. Him, Ray and Eddie Kramer are all old mates. And I doubt any of them would say what you have.
It doesn't quite jive with me, for some reason.

 

Last edited: Jun 15, 2019

Yes, creating hundreds of tracks is necessary and the ultimate goal of the mix engineer is to use every single one of them in order to weave the most complex sonic representation of the song no matter what genre it is and over any objection of the lowley artist (you are being paid for your expertise so be a professional and disregard the amateur). In addition, if you have any microphones in your locker left over after micing the drums then you've obviously have done something wrong. Mix only in the box, outboard gear is for dinosaurs, losers and imbiciles. Cables matter so buy the most expensive that you can afford, the cheaper the cable the cheaper the sound. Mix only on headphones or earbuds as the vast majority of those listening these days only hear their music through their phones.

 

I get what you are saying. Maybe not all, but possibly spot-mics on splashes, thin crashes, stacks, bells and rides (if needed).

So that's why the Glyn Johns-guys are lining up to engineer rock, indie and metal bands?

Now you are just being childish. Typo. Ofc I'm talking about the technique.
I think that was the cue to end it. We can agree to disagree.

 

Last edited: Jun 15, 2019

when it is all said and done there is usually one volume knob(even in surround sound)..i was taught that left and right are the most important two tracks there are, everything else has to help you get there i am old school analog and at the end of the day the mix HAS to translate to left and right use what you will but this is still the formula

 

I found that, when i'm not working on a genre that requires instruments being recorded, so mostly electronic, the more I grew in skills the less tracks i used.
But as previous folks said, it's quite subjective.

 

I absolutely love having almost unlimited number of tracks available.
I would never care about how many actually get used for a song - just seems irrelevant.
Great if some people do imaginative stuff with hundreds of tracks.
Great if people pull magic out of the hat with just a pair of microphones.
Awful if anyone thinks there's a formula you must adhere to - in any genre.

Lot's of people have already said "as many as you need" - that'll do nicely.

 

I honestly thought you meant you had worked with him, sorry. You said "I recorded jazz with Glyn Johns". The word 'technique' may have been good to add in there! lol
As I've said, I've worked with Ray Hendriksen, and still meet up with him every other week, so it didn't seem far fetched that you may have worked with Glyn. Sorry if I offended you. I don't see what I said as 'nasty'.

 

Last edited: Jun 16, 2019

I already said how Ray was sought after for his 3 mic technique, by the big names I mentioned in my first post in the thread.
Yeah; let's just leave it there! lol. No worries.

 

.

 

Last edited: Jun 17, 2019

IMHO if you need more than 24 tracks to finish a 3-10 minutes song you are either an incompetent producer (meaning you can't even manage your DAW: midi channels, program change. busses, groups etc.) or a pathetic megalomaniac.

 

Good boy.

 

Last edited: Jun 17, 2019

Calling names producers because of track count is not rational.
Obviously, how many tracks is used in a musical project does not determine the quality of the producer.

 

So IYHO most of the world's most renown producers and mixing engineers are eihter incompetent or pathetic megalomaniacs?

 

I mean "home-bedroom producers" of course (99,9% of people here, I guess): hobbists, whatever. I wouldn't trust a producer who needed more than 24 tracks to finish a 3-10 minutes standard song (drums, bass, guitar/pad, lead, effects). I don't mean channels (e.g. one-two channels for any drum part, up to a dozen channels). I mean "tracks". Again, if one can't organize his DAW in a rational way (through groups, busses, program change etc.) IMO is an incompetent producer. The main rule for me is "the less the better" no matter how powerful your DAW can be. More than 24 tracks means you are not able to abide by this basic law (incompetence) Or maybe you think "the more tracks, the higher impression" (megalomania). That's my very humble yet rather unwavering opinion. For the rest ("renown producers' 1000 tracks film scores" and such), for me it's all bullshit.