While I don't have access to a specific "KDB book" on drum micing for live venues, I can provide a comprehensive outline based on common industry practices and knowledge in live sound reinforcement. This outline covers essential aspects of micing a standard drum kit for live performance:

I. Understanding the Goal:

• Capturing the Sonic Essence: The aim is to capture the individual character of each drum and cymbal while ensuring they blend together naturally in the mix.
• Isolation and Separation: In a live environment, minimizing bleed from other instruments into the drum mics is crucial for clarity and independent control.
• Durability and Practicality: Live sound mics need to be robust and easy to position and manage in a potentially chaotic environment.
• Gain Before Feedback: Microphone placement and selection play a significant role in maximizing the volume of the drums in the mix before feedback occurs.

II. Standard Drum Kit Components and Common Micing Techniques:

• A. Kick Drum: The foundation of the drum kit's low end.

  • Inside the Drum:
    • Dynamic Microphone (e.g., Shure Beta 52A, AKG D112 MKII, Audix D6): Positioned inside the kick drum, often through the resonant head's port hole.
    • Placement Variations:
      • Closer to the beater: Emphasizes attack and click.
      • Further from the beater, closer to the shell: Captures more low-end resonance and body.
      • Boundary Microphone (e.g., Shure Beta 91A): Placed on a pillow or directly on the drum floor inside the shell for a punchy sound with less cymbal bleed.
  • Outside the Drum:
    • Large Diaphragm Dynamic or Condenser Microphone (e.g., Electro-Voice RE20, Neumann U 47 FET-style): Positioned a few inches to a foot away from the resonant head. Captures the overall low-frequency energy and impact. Often used in conjunction with an inside mic.
  • Dual Micing: Combining an inside and an outside mic can provide a balanced sound with both attack and low-end weight. Phase alignment is critical when using multiple mics on the same source.

• B. Snare Drum: Provides the backbeat and rhythmic drive.

  • Top Head:
    • Dynamic Microphone (e.g., Shure SM57, Sennheiser e604, Audix i5): Typically placed 1-3 inches above the rim, angled towards the center of the head. Captures the crack, body, and overall tone.
  • Bottom Head (Optional):
    • Dynamic or Small Diaphragm Condenser Microphone (e.g., Shure SM57, AKG C451 B): Positioned to capture the sizzle and detail of the snares. Often used out of phase with the top mic to enhance the snare sound. Requires careful phase alignment.

• C. Toms (Rack and Floor): Add tonal color and fills.

  • Dynamic Microphones with Integrated Clips (e.g., Sennheiser e604, Audix D2/D4, Shure Beta 98AMP/C): Mounted directly on the drum rim for close micing and isolation.
  • Placement: Typically positioned 1-3 inches above the head, angled towards the center. Adjusting the angle and distance can affect the balance of attack and resonance.

• D. Cymbals (Hi-Hats, Overheads for Crashes and Rides): Provide shimmer, accents, and overall kit ambience.

  • Hi-Hats:
    • Small Diaphragm Condenser Microphone (e.g., Shure SM81, Audio-Technica AT4041, Neumann KM184): Placed 2-4 inches above the top cymbal, angled away from the snare to minimize bleed. Focus on capturing the articulation and chick sound.
  • Overheads (Stereo Pair):
    • Small or Large Diaphragm Condenser Microphones (e.g., Rode NT5, AKG C414, Neumann KM184): Positioned above the drum kit to capture a balanced overall sound, including cymbals and the general tonality of the drums. Common techniques include:
      • Spaced Pair: Two mics positioned symmetrically above the kit, aiming downwards. Provides a wider stereo image.
      • XY/Coincident Pair: Two cardioid mics with their capsules close together, angled at 90-110 degrees. Offers good mono compatibility and a focused stereo image.
      • ORTF: Two cardioid mics spaced about 17 cm apart, angled outwards at 110 degrees. Aims for a more natural stereo perspective.
      • Glyn Johns Technique (Minimalist): Typically uses three or four microphones placed strategically around the kit to capture a full sound. Often involves one mic overhead to the side of the drummer, another overhead above the snare, and a kick drum mic.
  • Individual Cymbal Mics (Optional): In larger venues or for specific sonic requirements, individual crash and ride cymbals might be close-miced with small diaphragm condensers for greater control.

III. Microphone Selection Considerations:

• Dynamic Microphones: Generally more robust, can handle high sound pressure levels (SPL), and offer good isolation. Often preferred for kick, snare, and toms.
• Condenser Microphones: More sensitive, capture a wider frequency range and more detail. Commonly used for overheads and hi-hats, and sometimes for snare and kick depending on the desired sound. Require phantom power.
• Polar Patterns:
  • Cardioid: Picks up sound primarily from the front, rejecting sound from the rear. Good for isolation.
  • Supercardioid/Hypercardioid: More directional than cardioid, with even greater rejection at the sides but some sensitivity at the rear. Useful for high bleed environments.
  • Omnidirectional: Picks up sound equally from all directions. Less common for close micing drums in live venues due to bleed issues but can be used for room mics.

IV. Practical Considerations for Live Venues:

• Microphone Stands and Placement: Use sturdy stands and ensure mics are positioned securely to avoid movement during performance. Consider boom stands for flexible placement.
• Cable Management: Keep cables tidy and secure to prevent tripping hazards and ensure reliable signal flow.
• Wind Screens/Pop Filters: Can be useful on hi-hats or when using condenser mics close to drums to minimize wind noise or plosives.
• Drum Shield/Screen: In smaller or reverberant venues, a drum shield can help reduce the overall stage volume of the drums and minimize bleed into other microphones.
• Sound Check: Thoroughly sound check each microphone individually and then as a kit to ensure proper levels, EQ, and identify any phase issues or unwanted noise.
• Working with the Sound Engineer: Communicate your desired drum sound and be open to the engineer's suggestions based on the venue acoustics and overall mix.

V. Advanced Techniques (Beyond the Basics):

• Room Microphones: Placing one or two microphones further away from the kit to capture the ambient sound of the room. Can add depth and natural reverb to the drum sound.
• Triggering/Sample Reinforcement: In some genres, electronic drum triggers are used in conjunction with acoustic drums to enhance or replace certain sounds (e.g., kick drum).
• Creative Micing: Experimenting with unconventional microphone placements to achieve unique sonic textures.

This outline provides a solid foundation for understanding drum micing in live venues. Remember that the "best" techniques often depend on the specific drums, the style of music, the acoustics of the venue, and the desired sound. Experimentation and careful listening are key to achieving a great live drum sound.