There's actually a bit of truth to that. One 57 over the kit, another in the kick and call it a day.

This only works if your drummer is good and the kit doesn't sound like a shipping container full of anuses.











I'm not a huge fan of 57s, generally, but they sound acceptably mediocre on every source, so they have their place. I don't think, given a decent mic collection, they're often the right tool for the job, but their virtue lies in pretty well never really being the wrong tool either. And being pretty well indestructible for gigging.








CANADUH!

Can be done, have done it, it works. Would avoid in future, unless emergency or recording under duress environment. The kick is okay if you don't really want it to go boom or whump much, and the OH is okay, if you really like the way your brass sounds when mid boosted.

A pair of LDCs instead would improve it a bunch. For the minimalistic, three mic Glyn Johns, is hard to beat.

This, and this.

Also: this. Add a snare mic to the latter and you really don't need anything else if you're tuned properly and have the placement right. I have a track kicking around where my friend who's assisting on the session used a GJ+ snare setup on a metal track and it sounds kickass.

If midrange were a solid object, it would be a 57.