Set up two microphone stands 12 inches apart on the left of the high hat stand. If the drummer is left handed and plays her kit opposite to the traditional set up, set it up on the right. Extend the telescopic part of the first stand to approximately 3 inches above the top of the top cymbal. Extend the second stand so that the collar is approximately 3 inches below the bottom cymbal.
Place a condenser microphone in the collar of each stand. Condenser microphones typically respond better to higher frequency sounds. Since the high hats are particularly high frequency, condenser type microphones typically pick up more of the sound. Angle the microphone stand collars so that the microphones point toward the bell of the high hat. Adjust the arm of the first microphone stand so that the microphone is closer to the high hat.
Connect an XLR cable to each microphone. Connect the two XLR cables to the mixing console, preferably in channels that are side by side for ease of mixing. Have the drummer hit his hats as hard as possible. Adjust the gain slider for each channel and monitor the gain meter on the desk. If the red warning LED flashes, reduce the gain.
Equalize the high hat channels before recording by adjusting the slider dials on the mixing desk equalizer section. Start with the top microphone. To accentuate the metallic "ringing" sound, boost the frequency range from 7kHz to 10kHz. To diminish that sound, reduce the frequency range. To increase the resonance of the stick impact, boost the slider dial governing the 5kHz range. Repeat with the second high hat microphone channel, but don't attempt to boost the stick resonance as only the high microphone will pick this up since the stick hits the top of the hats. Boost the 500Hz to 1kHz range to accentuate the "clang" of the hats.
Press record on the tape recorder or music production software program.