the band I run sound for has a very limited selection of mics and we have no budget for purchasing more.
since I picked up a set of the ADK TL's(for taping), I can now use my AKG 391s for drum micing. I've made due in the past with 3 Shure SM58's(1 on kick and 2 overhead) but its not that great for the low-end, especially on the kick(due to the rolloff).
am thinking of using a 391 on the kick, a SM58 between the snare and high-hat, 1 391 between the toms and 2x SM58 as overheads.
given this 5 mic scenario anyone have any other ideas as to placement?
also, we have no outboard compressor or EQ.
I've found (and read, too) that the generally accepted order of mic use is:
1 mic: omni overhead
2 mics: cardoid overheads
3 mics: cardoid overheads + kick
4 mics: cardoid overheads + kick + snare
Beyond that, it's up to you.
Personally, I've been using a pair of AKG C1000s as overheads for quite a while with really good results. Generally I place them on the outside of kit angled in a bit, generally with one pointed a little less angled to put the hat more directly in the pattern and the other angled a little more to put the snare more directly in the pattern. You have to listen, though, as it's pretty easy to get phasing problems. In the studio, you'd probably want to calculate and measure, but for live use I just use my ears. I'd bet your 391s would work wonderfully as overheads. The "AKG sound" really does the kit well.
I don't know how many times I've gone into a club and seen the sound guy micing every tom and using no overheads. When you ask, they inevitably say, "The cymbals are so loud they'll be heard anyway, and the tom mics'll pick em up." I guess I more subscribe to the "get good overheads, then fill in the rest" school of drum micing. Of course, I play with more jam/rock/jazz/fusion groups.
You can limp by with a 58 on the kick, but it just doesn't have the low end response to sound right, no matter how much you turn up the low eq. If you've got three 58s, I'd sell them and turn them into an AKG D112 for the kick and a 57 for the snare. The D112 can be had for ~$200 new/used, and the 57s are $79 new most everywhere. You'll notice the D112 difference immediately -- it's frequency response is tailored to kick and bass cabinets, so it sounds "right" even flat. It's also almost undistortable with something like 170+ dB SPL capability, which means you can stick it anywhere you want on the kick and it'll be fine. (Let your ear decide.)
For what it's worth, this is what I run, and I think it's the best low-cost solution out there. The drummer I'm currently playing with says it sounds better to him than 99% of the pro many-mic setups he's played with.
I've got recordings, BTW, if you want to hear this setup.
Chuck