Yeah, I seem to be doing more of this these days too. Usually the snare starts to lean to the left and kick to the right this way, but as a tradeoff I get better cymbal sounds than if I'd go with the center line stuff or something like XY or ORTF overheads, that I tried for a bit some years back. 3 overheads also works great if you're going for the center line mentality and less towards spot micing. Did it for one album I'm working on right now, because the studio we recorded at had plenty of channels and good microphones. I don't do this as much anymore, because the kick ends up far too loud for what I want out of room mics usually. Depends on the room though, obviously. But one method I've learnt from assisting and done a couple of times with great results is an AB pair of ribbon room mics, with the dead spot of the figure 8 pointing towards the cymbals. Actually, I even had a picture! I can't remember if we moved them around though - they seem a bit high in the picture - because that session was a while back, and that picture was from setting up. I'm certain we changed the ride mic to the underside and moved the d112 to the beater side after that though, so it's entirely possible.
this if you want good cymbal sounds, do the equal distance thing if trying to capture everything. imo of course
Usually the "center line" theory works good but sometimes (your case) I use a spot micing technique: mics closer to the cymbals, at the same height and forget about the snare. You will hard filter your oh's with the eq so the snare should not be a problem in any case
