You have to play with the placement for this method to work. Small movements will make certain pieces of the kit disappear in the mix. Also, I found this works better than a room mic in my room because my room is really small. I would never suggest using this method live, and to be honest it works best as an extra mic to fatten up the sound when you already have mics on the rest of the kit. OP just wants to be able to hear his kit while playing to tracks, so this method will work fine for that. The other advantage of a 57 is if in the future OP decides to dump some money into some decent mics, the 57 just slides over to the snare, whereas a cheap Chinese mic slides into the garbage.troutstudio said:I do a gig where the sound guy insisted on this method of miking my kit. It was horrible. Theres a noticeable snare double and no cymbals. I reproduced it in my studio out of a morbid desire to get to the bottom of it and it sounded like a strange room mic. He did use a bass drum mic. Fortunately he was sacked and the new guy mics the kit. You cant mic a kit with one mic unless you have a decent room. Id get a really cheap kick mic and an overhead. You can get decent Chinese mics for almost nothing. You dont need a 57 unless you are taking it to gigs. Two mics is much easier.If you're looking low budget, I would just use a 57. Put it on top of your batter side bass drum hoop pointed toward the snare, equidistant from your two toms (assuming you're on a 4 piece). There's various videos on this method which I believe is called the "Wurst" method. Yamaha must have known all about this when they designed the EAD.