There were a few changes in the mic'ing up department for this session due to some new arrivals so here goes.

Bass drum mic..... a lone Audix D6 recorded direct to the Otari Radar through my TL Audio valve mic preamp and a Focusrite Red 3 compressor.
Snare Drum was mic'd with a Sennheiser e609 on the top, also through my TLA mic pre and a Shure SM57 underneath through a desk channel balanced, phase checked and summed to one track via a Urei 1176 compressor.
The toms were mic'd with Sennheiser MD421 mics, set to their “flat” position and recorded flat.
Jason only uses a single crash cymbal, a china and a ride all positioned to his right-hand side so I took the opportunity to use some ADK mics we've recently been sent to evaluate.
I put an ADK A6 FET Condenser over the crash and an ADK S7 over the china cymbal. The S7 is a soft sounding mic capable of taking very high sound pressure levels so I'm planning to stick it in a few bass drums over the coming months. Both mics had their attenuator pads and hi-pass filters switched in and were recorded flat through the Soundcraft desk. The ride cymbal was mic'd with an ADK S7c condenser...this is a slightly brighter version of the S7 and sounded very nice. I'd definitely like to try this mic on hi-hats and acoustic guitars at some point.
The hats on this track were recorded with a Neumann KM84.
Because all the cymbals are set up on the same side of the kit I put up an 87 on the other side over the hihats and snare so I could record a stereo image of the top of the kit even though there were no cymbals on that side. I do tend to use the overhead mics to add some “crack” to the snare and toms and to give a sense of width and space.
Finally I put up an AKG414 on it's omni setting around eight feet in front of the kit. This was compressed and fed into the final mix at more or less the same level as the overheads.

The bass guitar cab was mic'd with an Advanced Audio CM47 Tube Condenser close up on the grill (well, as close as the over-engineered massive shock mount will permit-the ADK Area 51 Tube mic comes with an identical mount but also another seperate clamp which enables you to position the mic right up against cabs), routed through our GA Pre 1073 and compressed with one of my old AD limiters. I'm very taken with this mic. I've been using it a lot recently both through the desk channels and the GA preamp and so far it sounds the “classiest” of all the tube mics we've been sent to try including the SE Gemini Dual Valve which comes in at nearly twice the price! A very faithful low-end sound and a sweetness in the upper mids which makes it useful for many different applications. I also used it to record Danny's vocals, being aware that previously I've found an 87 to be a bit too narrow and peaky for his voice.
The two guitars were recorded using ADK Tube mics, Adie's Orange amp and cab with the TC Tube Condenser and Sam's Marshall set up with the TT Multi pattern Tube set on cardioid. I made sure all these Tube mics were plumbed in and switched on a good hour before at least before recording started....very important!
Both mics sounded smooth and sweet, not least because both guitarists get a good and very distinct sound from their amps....an area where many young players struggle to be honest. It's about the tone not the volume! Whoops there's the soap box again!
I recorded the two guitars, bass, drums and a guide vocal in one go then, after a couple of drop-ins on the bass and drums we redid both the guitars seperately for the sake of accuracy and spill.
All the vocals were overdubbed using the AA CM47, GA mic pre and Audio Developments limiter direct to the Otari Radar.
Mixing again was quick and relatively painless. Without lots of overdubs to worry about there were just a few vocal and guitar fader rides to program and sit the voice and guitar solo on top.
It was interesting to use the ADK and Advanced Audio CM47. Both JR and I feel that it's going to become increasingly harder to make judgements on mics based on a “shoot out” procedure. Really the only way to see if a mic works for you is to try it in anger.
I find it hard to say what attracts me to a particular mic...I think it's that moment when you push up a fader and you hear something that's very, very faithful to what you heard in the room plus something indefinable extra!
The good thing from the general user's viewpoint is that good quality mics are getting cheaper and cheaper but it's going to get harder to choose where to spend your money!
JS.