Without micing the toms there are really only 3 things left… mic choice, mic positioning and eq.
1. Use SDCs (small diaphragm condenser) for overheads if possible. They generally sound clearer on distant sources when compared to dynamics so any spill will will tend to be more ‘musical’. They are also often better with the higher frequency detail that define the cymbals you primarily want them to capture. Not all SDCs are created equal of course so this is very much a generalisation.
2. Position, polar pattern and direction play a huge part. Try aiming your mics in a different direction paying attention to where they pick up from most to make sure that area is covering what you want, but not the snare. Cardiod/hypercardiod makes a big difference too. The tighter pattern of a hyper can be beneficial, but they also pick up more from the rear – so depending on the space, reflections and other instruments cardioid can be the correct choice.
3. Try using HPF to keep the low out of the overheads, anywhere from 100 Hz to 250 Hz can work although lower will be better for your toms, and notch out other unwanted snare frequencies just a little and with a wide Q – It won’t disappear but may sit better in the mix.
There is also a number 4 – use a quieter snare, head, sticks or drummer! Fixing the source is sometimes the only solution!
