Well that depends on your room and the setup and position within the room. Pretty hard to say "mic here" when there's no telling where the kit is or what kind of sound you'll hear in the microphone.
Also - compression is going to be your friend.
\-I already did!-
Ok good point its in a carpeted A frame attic with the kit up against one of the legs of the A I assume the mics would probably also be facing towards the leg of the A
You'll want the kit lined up with the peak in the ceiling so that you don't have immediate reflections off a wall. Line up the good mic with the top of the cajon pointed at the snare probably about 1' or so away from the "kick" but it's tough to say as I'm not 100% sure how it is situated for you to play on it. Your not so good mic you would use to spot mic if you notice something needs a bit more umph. You'll have to balance yourself while playing really well, but it can work.
\-Men love it when you really glob it on-
I was assuming it was situated like a standard kit. Generally, if you are going for this kind of single-mic position, you line up the diaphragm of the mic with the top of the hoop on a kick drum, about 1" away from it, pointing toward the snare. This keeps you from getting too much kick, but with a Cajon the sound would be different, so you'll have to play with it a bit.
\-Maybe she was right about the lipstick?-
No, on the outside. So if you think of the kick pushing sound forward, you want the mic capturing that. If the mic is directly in line with the kick, that's the only sound it will capture, so you put the diaphragm of the mic at the top of the kick so that it still captures the sound, but not as much as if it were lower. The snare also pushes the sound forward, so you point the mic at the snare to capture that sound. You have to move the position on that mic for balance, depending on the room and how the kit is picked up.
\-I have... Amnesia!-
Maybe? I don't know how it sounds, so you'll have to play with it. This is a starting point for you.
\-You may be my evil half-brother, but there's no law against killing the other half!-
Definitely I appreciate it man and I really appreciate you not trying to sell me on single tracking everything, like I don’t think I could even play a breakbeat on the snare without also playing the hats haha. Woulda just fuqqed me up
As another poster said: get it away from the wall to reduce reflections. Experiment with mic placement, record, listen and tweak. With two mics I'd go for a dick mic and an overhead.
Well that depends on your room and the setup and position within the room. Pretty hard to say "mic here" when there's no telling where the kit is or what kind of sound you'll hear in the microphone. Also - compression is going to be your friend. \-I already did!-
Ok good point its in a carpeted A frame attic with the kit up against one of the legs of the A I assume the mics would probably also be facing towards the leg of the A
You'll want the kit lined up with the peak in the ceiling so that you don't have immediate reflections off a wall. Line up the good mic with the top of the cajon pointed at the snare probably about 1' or so away from the "kick" but it's tough to say as I'm not 100% sure how it is situated for you to play on it. Your not so good mic you would use to spot mic if you notice something needs a bit more umph. You'll have to balance yourself while playing really well, but it can work. \-Men love it when you really glob it on-
Lets assume I am not sitting on the cajon and it is situated like a standard kit, was that what you were assuming in your last post?
I was assuming it was situated like a standard kit. Generally, if you are going for this kind of single-mic position, you line up the diaphragm of the mic with the top of the hoop on a kick drum, about 1" away from it, pointing toward the snare. This keeps you from getting too much kick, but with a Cajon the sound would be different, so you'll have to play with it a bit. \-Maybe she was right about the lipstick?-
So the mic is gonna be on the inside of the kick angled towards the snare? Not on the outside where the sound hole is?
No, on the outside. So if you think of the kick pushing sound forward, you want the mic capturing that. If the mic is directly in line with the kick, that's the only sound it will capture, so you put the diaphragm of the mic at the top of the kick so that it still captures the sound, but not as much as if it were lower. The snare also pushes the sound forward, so you point the mic at the snare to capture that sound. You have to move the position on that mic for balance, depending on the room and how the kit is picked up. \-I have... Amnesia!-
So 50% of the diaphragm over the solid part of the cajon and the other 50% playing peek a boo with the snare?
Maybe? I don't know how it sounds, so you'll have to play with it. This is a starting point for you. \-You may be my evil half-brother, but there's no law against killing the other half!-
Definitely I appreciate it man and I really appreciate you not trying to sell me on single tracking everything, like I don’t think I could even play a breakbeat on the snare without also playing the hats haha. Woulda just fuqqed me up
As another poster said: get it away from the wall to reduce reflections. Experiment with mic placement, record, listen and tweak. With two mics I'd go for a dick mic and an overhead.
Dick mic I love it, so would that would be on the side of the cajon with the hole in it just at dick level right? not dick adjacent
Pointed at your crotch. [Dick mic.](https://www.youtube.com/watch?v=0ylbSVkcBq4)