While drums often have stereo overheads, having a mono drum overhead is completely normal for a recording. Even on today's records. Not every recording needs a

While drums often have stereo overheads, having a mono drum overhead is completely normal for a recording. Even on today's records. Not every recording needs a stereo drum kit. Especially if it's a big mix with lots of parts competing for space. While drums today can often be mixed with upwards of 16 microphones, a skilled recording engineer with an excellent player (Stevie) on a well tuned-kit in a good room can capture a fantastic drum sound with a single overhead microphone and a spot mic for the kick. You'd be astounded how minimal it can be when the ingredients in the room are correct. That said, there's a third possibility. That they tracked the drum kit with a full compliment of 8+ mics and then recorded the blend of these mics to the three channels of tape that ended up on the final 16-track reel of tape. I have a copy of these exact stems and it's very clear to my record-engineer ears that these were indeed, just one mic per tape channel. No summing was done. Frankly, it's not even a good drum recording by the standards of that era, but Stevie's writing and performance are so brilliant that the record is great anyway. Also, to chime-in on whether or not Tonto is featured on this track; The only possible candidate is the Moog synth bass. But the performance is no different than what you'd get with a Minimoog. So even if they performed it using one of the Moog modules on Tonto I'd say it's not a usage that highlights anything extraordinary about what Tonto was capable of.