The piece of string method is also known as the “Recorderman” technique. An informative video demonstration can be found on Colin Fairbairn's website. In the interest of keeping things simple, this article deals with one microphone at a time.
Microphone 1 - Kick Drum
Common budget choices for the job include an AKG D112 or Shure Beta 52A, but any microphone with a good low frequency response that can withstand a high sound pressure will work. Put a close mike down in front of the kick drum. This can be anywhere from 12 inches outside the shell to right inside the drum almost touching the beater.
Microphone 2 - Snare
Probably the most widely used microphone for this job is the Shure SM57. It's an affordable mike and solid enough to take a beating from the odd wayward stick. Adjust the microphone about an inch from the top rim, pointing towards the centre of the drum where the stick hits it.
Microphone 3 - Overhead 1
The choices here are almost limitless, but for the sake of argument a good recommendation is a cardioid pattern condenser microphone, like a Rode NT-2. For those who are feeling upmarket maybe even a Neumann U87 can be used. Place the mike just in front of the kit and above the cymbals, angled down so the centre of the mike is pointing at the centre of the snare drum.
Microphone 4 - Overhead 2
This can be exactly the same type of mike as number three, but it might be worth experimenting here. Sometimes a ribbon microphone with its natural figure-8 pattern can bring in a little more of the "room" sound as well as soften harsh sounding cymbals if necessary.
This microphone can be the most difficult to position. Depending on the position of microphone 3 it can tend to work best quite close to the drummer's right ear. Point the middle of the mike towards the snare drum, ensuring it can also capture the cymbals and toms. It should be roughly the same distance from the snare as mike 3.
Recording with String
Now, here comes that piece of string.
The assistant might want to do this before the band arrives because it can tend to make the head engineer look a little uptight, or at worst, like a complete amateur.
One end of the string should be tied to the beater of the kick drum so it stays in one place when the durmmer's foot is pressed down on the pedal. The string is used to measure the distance up to microphone 3, then over the finger and down to the centre of the snare drum.
Keeping the finger on the same part of the string so the distance measured doesn't change, move it towards microphone 4. The idea is that both microphones should be equidistant from the centre of the snare drum and kick drum.
Spending some quality time moving the overhead mikes around until this is the case is vital to achieving a well balanced sound.
Then you're ready to set your levels and record!
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