Four Mic Recording Techniques

I'd get another 58. It might not be the ideal kick drum mike, but it'll work, and then be useful for other things too.

bitflipper
I'd get another 58. It might not be the ideal kick drum mike, but it'll work, and then be useful for other things too.

I see the advantage of another SM57 and use on the kick, temporarily. That mic would then be used on a tom at a later date. 

slincoln

mikedocy
+1
SM57 or SM58 will work fine on bass drum.
 
It's also worth a try to use the Glyn Johns 4 mic technique:
http://en.wikiaudio.org/D...g:Glyn_Johns_technique

 
I was researching the Glyn Johns 4 mic technique on YouTube. I believe that would work nicely for this project. However, I'm leaning towards a modified version. I would go with the mic over the shoulder, rather than the floor tom position. For me, that method seems to sound better.
https://www.youtube.com/watch?v=zT774sQDwdc

I've had good results with this method. If you're not happy with the results: you can fill in, replace/augment any kit piece at mix time with the exception of cymbals so make sure you get the overheads right with whatever method you choose. You can easily replace/augment the kick and snare as they will be on their own tracks. The toms can be replaced/augmented by copying them from an overhead track and pasting them into their own individual tracks. Good luck.
 
Rocky

Rimshot
It is advisable to place your overheads so that each is the same distance from the snare to help eliminate time-align phase issues. You should experiment with their placement to see what sounds the best. 

Speaking from a complete lack of experience, I have trouble imagining that alignment of overheads on the snare could be useful.  Doesn't the snare usually have it's own mic ?  Aren't the overheads more for the room in the case of the snare ? (or are you recording different aspects of the snare with the different mics ?) If you do align the overheads on the snare, won't they be really off for the cymbals who are the main targets of the overheads ?  It seems to me it would be a lot easier to play with alignment once the tracks are in the DAW.
 

 
Thanks Rimshot for the intro video into the world of the Glyn Johns techique.  I see that one of the overheads isn't what I would have called overhead. Do you bother to fine-tune the alignment of the snare hits between the two mics once the tracks are in the daw, or are they close enough when just measuring the distance with a tape measure ?
 
Watching the video I wondered about the cymbals which don't seem to get much attention.  I then noticed another vid proposed by youtube that addressed the ride cymbal by moving the floor tom mic to be over the right shoulder instead.  Interesting that there is a whole cult around Glyn Johns with many different opinions and modifications.

AKG-112 for the kick.  A LOT of studios use it.  Note that in a pinch SM-57 or 58 will work, but probably not transfer quite as well.  Shure makes a nice one too The Beta 52.  Both will set you back about $200.
 
I have gotten away from miking ALL of my drums.  I use the three mike method (two overheads and kick).  IF your room is nice and large a couple of room mikes (condensers) might be nice to pick up the sound of the kit in the room.
 
With the overheads it is definitely important to make sure that they are the same distance from the snare.  The phase issues will absolutely kill a good performance.  That is one reason some people prefer the X-Y method for the overheads.

Shure Beta 52 or the AKG D112 for sure. Also double for bass cabinet mics.

Little late to the game, but if he can stretch the budget just a little bit, he could afford a used Sennheiser MD421 that will be WAY more useful in other situations than yet another SM57/58.
 
But, I understand budget constraints too.