Mic expectations in big studios?

I just booked time at a local studio because they have coles 4038's, and those are exactly what I want on OH for this upcoming album. Other than that I expect some nice LDC to use as room mics. I find that most studios have a pretty regular assortment of dynamics to use on drums (57's, 421's, re20 etc) so I'm not so concerned about that element.

YES!  I have expectations.  Otherwise, why rent the room?

Of course, the #1 importance factor is the room itself, and beyond that mics, and finally, pre's.  Of course, the choices would be determined by the style of music, player, drums, and most importantly, the room itself.

What I would expect :

(2) C12's - OH
(2) 4038's - OH
(2) UM70's - OH option
(3-4) Vintage 87's - OH or toms
(4-5) KM84's / 86's - OH, toms, snare
(1) 47FET - Outside Kick
(1) Dynamic kick Mic. Could be one of the 4-5 popular variants. I prefer the Audix
(3) 421's (although I prefer not to use em) - toms, kick
(4) SM57's or better, the older Unidynes. - toms, snare
(1) M201 - snare
(1-5) Audix i5's, toms, snare
(1-2) 441's - snare or ?
(1-2) U47's - room
(2) 77DX - room
(2) Vintage 451's - hat or spot cymbals
A bunch of additional Gefells would be a wonderful bonus for me. 

to start with, I would expect them to have mics I don't already own, which I would also bring. or in some cases more of certain models than I have.

Mics I don't own I'd want for drums - at least 2 U67s; at least 2 4038s, a 47 fet, 2 if double kick.

With most kits I woudn't use more than 7 mics total, including rooms. And that's using kick in and out mics. With a monster kit I might want some spot mics (or not?)

I like Dr. Bill’s list, but I’ll bet there aren’t ten studios in the US that have everything on that list.

I'd bet that number is considerably higher, but I'm no expert. The only real standouts appear to be the pair of C12s, a U47, and a pair of 77DXs. 

Haha!! There's probably not a lot of studio's that have EVERYthing on my list, but there's a lot that get close enough.  I know even Capitol couldn't meet every mic on my list.  Maybe Conway could....  Certainly many that could with a couple of rentals.

Aside from the C12's and maybe the 47's....it's really not that exotic of a list.  The Gefell's are not rare or uber valuable, but not real widespread either.

I'd be OK with 44's instead of 77's, a Flea or other high end clone instead of the 47's, more UM70's instead of the 87's, etc.. But the question was asked what my desire / expectation would be, and that's what it would be. I've got a pretty respectable mic locker here, and a great sounding "smallish" room, so to lure me out.....you gots ta have da goods.

I wouldn't use EVERYthing on the list, but that's a list that would make me feel comfortable recording pretty much any sort of "normal" drum set - no matter the style, drummer, kit size or room.  All bets are off with uber insane mega kits.

Pair of 4038’s
Pair of 67’s
A stereo ribbon (sf12 or the AEA stereo guy)
FET 47
Pair m160’s
Pair of 77’s or 44’s
Pair of 84’s

I think the most enjoyable thing about drum tracking is picking the mics and drums and pairing them to the room and player in a way that works for the song. In order for that to work, I like having some choices to pick from. I’ve been very Lucky to work in a room where I can basically pick anything I want with the exception of a 251. The above are my go to’s aside from all the usual dynamic suspects.

Sear Sound is probably one of them. I would just set up a bed in the storage closet and live there if they would let me.

So far we haven't found either the need or been requested to track drums etc. at other studios.

Of course if you don't have a suitable space at all to record live drums then obviously you'll want a choice of decent mics if you're going to the expense and trouble of tracking in a decent room.

Personally I like to see things like Coles 4038's, KM84's, U47 FET, U67's, AKG451's, Beyer M88, most of the Heil range and some other decent ribbons.
SM57's and 421's are common as mud on snare and toms but I'd rather stick a KM84 or Beyer M201 on a snare and Heil PR30's on toms are pretty nice.

I'd also consider what pre/EQ's you're getting (Neve/API etc?) and definitely use the EQ's when tracking as they will give you tone most plugins won't and I'd be aiming to get 90% finished drum sounds during tracking. I'd be careful about using too much compression/limiting during tracking.

We don't have a big studio and our main room is definitely not very live but is quite neutral and doesn't imprint anything nasty on our drum tracks.

I've concentrated on building our own reasonably decent mic collection over the past few years.

With some recent projects we are mixing (but didn't track) I've had drums tracks recorded elsewhere with some pretty significant room signatures especially in the O/H's.

This sometimes is fine but other times not so much.

As long as the drums are well recorded I'd rather not be stuck with a specific room tone that may not suit the track.

We don't do mega 80's style rock bands so big drum rooms aren't something we worry about.

However looking at other studio's mic lists ours is probably more comprehensive (see below) than most of the mid-range inner city Melbourne studios with maybe the exception of a U47 FET and something like U67's.

I'm still on the lookout for a couple of Neumann KM86's and Gefell UM70’s (and maybe a U47 FET)  but overall I'm pretty much done looking for mics.

This is not everything, we have a few vintage EV's an STC Cricketball plus other odd bits and pieces.

LARGE DIAPHRAGM CONDENSER MICROPHONES

Bock 251 – Tube
Flea 47 – Tube
Neumann U77 – FET
Custom C12 Tube – (Tim Campbell Capsule)
Rode NT2000 – FET

SMALL DIAPHRAGM CONDENSER MICROPHONES

AKG 451EB (Vintage) – FET x2
AKG C60 – Tube
Audio Technica AT871 PZM x 2
Josephson C42 FET x 2
Neumann KMS84i – FET
Neumann KM84 – FET x 3 (inc. 3 x KK85 capsules)
Neumann KM184 – FET x 2
Neumann KM54 – Tube (Nickel Capsule)
Oktava MK-012 FET (Inc. Cardioid, Hyper-Cardioid, Omni Capsules) x 2

RIBBON MICROPHONES

AEA R84
AEA N22 x 2 (Modified as N8's)
Beyer Dynamic M160 x 2
Beyer Dynamic M-360
Coles 4038 x 2
Cascade Fathead II (Lundahl Transformers) x 2
Cascade Vinjet
Cascade X15 Stereo (Lundahl Transformers)
Rode NTR x 2

DYNAMIC MICROPHONES

Audio Technica ATM25
Audio Technica Pro9D x 3
Beyer Dynamic M88
Beyer Dynamic M201
Beyer Dynamic M69
Heil PR22
Heil PR31Bw x 3
Heil PR40
Heil PR48
Shure SM57 x 3
Shure SM58 x 2
Subkick Mic (Custom)

I took drbill's list to mean ACTUAL C12's, whereas many have interpreted that as 'C12 clone or style'. Actual U47's, etc.

Just wanted to give a shout out to Sean, who has helped make MANY great records- from Tim O'brien and The Devil Makes Three, to Jake Bugg and Mac Wiseman (and the list goes on). Way to go, Sean!