ChuckC
With What you have Beagle, try the kick mic, 1 pencil on the snare (facing away from the hats!) 2 large diaphragms as OH in a spaced pair about a foot above the cymbals, maybe to the inside to get the toms too.  Phase relation to the snare is important.   The other LD as a mono center room mic.   Listen and then augment if needed with the other pencil.  You may need to mic the ride or floor tom with the other pencil  You may not.

If you are depending on the Oheads to capture most of the drum sound, it so depends on the player.  If the drummer is one of these types that smashes the life out of cymbals (and many are) then it is not such a good way to go.  You may need all the close mics and just a trickle of the Oheads in order to end up with a reasonably well balanced kit sound at the end.  If the player is able to keep the cymbal balance right in line with all the other drums (many aren't) then you can do it.
 
(many drummers play the cymbals way too loud. You only have to caress a cymbal to get the sound out of it. They are LOUD! Also many drummers hit the snare WAY too hard as well. It is just so unnecessary. The snare drum is also a very LOUD drum and does not need to be hit anywhere near as hard as many drummers think. The only drums that you need to use power with are the toms and the kick in order to get a great drum sound. But it is very hard to control your power like that as you move over all the surfaces in a drum set)
 
In ChuckC's example I would go dynamic on snare and kick and condensers on OHeads.  Spaced pair Oheads won’t sum to mono all that great so you may want to factor that in.  (nice stereo image though)  A foot above the cymbals may be too close.  (for a cymbal smasher that is!)  Try 2/3 feet for example.  A near co-incident pair above is also nice too as it keeps the centre image a little weaker eg the snare which you may want also but it will sum to mono better.  Also measure the distance from the snare to the Oheads.  The sound will arrive at the OHeads a little later compared to the snare mic. eg 3 feet above would be 3mS.  So you may want to try sliding the Ohead sound 3 mS early for example in playback and the overall sound will change on the snare when you do this.  Not essential but it can have an effect too.
 
If the ceiling is very close to the drums, sound can bounce off the ceiling and come back down and mess with the OHead sound too.  (for the worse usually)  Some sort of sound damping above the kit is also nice if you can arrange it.
 

hi, if you like to read about drum recording....perhaps you like Val Garay's articles below.
He worked on records sold 120 million times of many famous artists and he's sharing his experience/knowlegde...how awesome is that ?
 
http://www.valgaray.com/d...ton-of-a-track-part-i/
http://www.valgaray.com/drums-the-skeleton-of-a-track-part-ii/
 
 

Something that I have found to be very useful when the resources are available is to close-mic along with room mics in different locations or using different room-mic techniques. If you are working with a genre or style that doesn't really need the close mics, don't include them in your mix. If there are any issues with the natural or room mics, you can always mix in close mics to taste (kind of like cooking). I find that regardless of the genre, it's nice to have a variety of tracks to choose and mix from. I don't always use all of my close-mic tracks, but it's nice to have them when you need them.

another tip Val Garay gave was, to make sure overheads are placed equally distance left and right from the kit, so the signal is recored in the middle of the spectrum.
This together with making sure the overhead tracks, and close make tracks excactly line up on the timegrid, gives you maximum push/power of a kit.
If the tracks drift away from eachother (time and position) you loose power and the kit can sound weak.

and he promoted 'bleed' in one of his vids, he said 'bleed is your friend' and demonstrated how indeed the kit sounded much stronger/better with bleed. So that seems to be something not to worry about anymore.
 

I'd love to hear how the recording came out.

the room probably has more impact on the sound than the recording technique.

batsbrew
the room probably has more impact on the sound than the recording technique.

And that's kind of where I was going with my comment above.  If you've got sound bouncing off the walls and all this reflection, OH's only are going to sound like crap.  I've never heard otherwise.  Close mic'ing is your best bet to rescue some tone and get something usable in a room like that.  
 
In a dead room, or at least a well treated room, OH's can do their job.  No issue there.  They can and do sound great in that context.  That's what I'm working on right now, myself, fixing the room.  

Voda La  
That's what I'm working on right now, myself, fixing the room.  

The best investment ever

Thanks, everyone - I haven't done it yet, I'm only considering doing it for a future song project.  may not be for several weeks, if at all.
 
I appreciate all of the responses, tho!