Holy hell that's way beyond realistic for me.  I knew about his custom Sonor kit but I didn't realize there was that much mic'ing going on and I had no idea he invested that much into electronic drums.  No wonder they sound so great. 
 
Honestly, even if I had an 88 input console with all those mics, I'd be lost trying to make it all work together.  But isn't that set up amazing?  I would love to see what it looked like recording. 
 
I'll just have to settle for what I have and make the best of it.  Recording live drums is where I'm staying, so I'll just have to keep chipping away at it to get the best result I can.  
 
Thanks for sharing.  I'm going to enjoy the article on making 10,000 days now...

Just as when miking a guitar speaker, the distance, angle and where the mic is pointing make a surprisingly big difference on the sound you pick up from a drum. The easiest thing to experiment with would be moving the microphone(s) around, e.g. raising them higher or aiming the mikes off-center.
 
Here's a drum-miking guide published by Shure. It's not very deep or technical, but good basic advice.

There are many factors in achieving pro quality acoustic drum tracks.
It's one of the hardest instruments for the home studio to record (well)... especially if you lack experience/gear... and (also important) good sounding physical space.
 
First, does the kit sound good in the room?
ie: If tuning on the toms is "out to lunch"... there's no mic/preamp/processor that's going to rescue it.
Tuning drums well (especially toms) is an acquired skill.
If the kit is sounding great in the room, then move on to mic'ing.
 
Start with a pair of overheads.
Place them... and do some test recordings.
The bulk of your drum sound should come from the overheads.
That's where all the details are captured.
If the overheads don't sound great... don't bother slapping up more mics.
Move the overheads until there's a good balance of the whole kit.
Cymbals sound best from a distance.  All the good stuff... none of the clang/gong
 
Once the overheads are sounding great, add spot mics to fill out the individual drums.
On snare, the SM57 works well.  You get a nice tight focused "mid" from a SM57.
On kick, you want a mic with a larger diaphragm (helps capture the lower fundamental).
On small to mid toms, a SM57 works well.
On larger toms, you need a larger diaphragm mic to capture that low "DOOOOM".  
A SM57 or similar won't capture that huge bottom end.
 
As with recording any other instrument:
It sounds all too obvious... but the way to achieve good drum sounds is at the source.  
 
Quality mics make a huge difference.
You an achieve really nice drum recordings using 4 mics

• Pair of AKG C414-XLS as overheads capture a nice, full, detailed representation of the kit.
• SM57 on the snare
• RE20, Beta 52, D112 (or other large diaphragm mic) on the kick

In this type scenario, the toms won't sound as full as if they were close mic'd.
But... it's easier to get 4 mics positioned well...
If the toms sound good but could use a little more "girth", you can isolate those hits/tracks and use EQ.
 
At this point, the drumkit tracks should sound pretty good when playing back.
For modern styles (pop/rock/country), I like to route all drum tracks to a drum subgroup... and apply an SSL type bus compressor.  This tightens up the sound... adds some attack/weight... without sounding overly processed.
If you're going for a natural "in the room" drum sound... you can also add a little reverb to the drum subgroup.
 
Get the fundamentals right... and your drum tracks will sound markedly better.
I'd start simple... learn... and then expand to more complex setups/scenarios.
A great sounding 4-piece kit will blow away a mediocre 10 piece recording.

Ok, I didn't think this thread had created much interest so I didn't update.  I've come a long way on this issue and now I'm down to recording tracks, testing them in the mix with other instruments.  I'm shocked how good they're sounding - at least, to me.  
 
All of the advice given thus far has been right on the money.  No single thing fixed this issue, save for maybe EQ having the most impact.  
 
1)  Room is mostly acoustically dead now, but could still use more dampening
2)  Drum tuning - mostly ok, but had a couple of toms that didn't want to cooperate
3)  Mic direction - had mic's tilted down toward the rim instead of pointed at the center, huge improvement with the tone of the tom/snare hit and resonance - at the expense of more shell in the sound, which is what I like in the first place.  Who knew?
4)  Mixer EQ - competing with mic placement as the biggest change in sound.  I simply had to cut the low mids to get rid of that boxy-boomy effect (600 to 900 range).  And I had to cut them a LOT (-15 dB).  This is usually a big red flag for me, having to set pots and faders to extreme settings, but in this case it has really worked out.  The drums sit in the mix in the right spot, to my ears, and I'm not missing that frequency range at all.  I added a little bottom to the snare and bumped the 6K-7K range a tad to get more sizzle out of the hi-hats.  
 
The other thing I did was similar to what Jim Roseberry was just writing about - listened to the overhead mix by itself. This caused me to drop them down a couple inches and push the faders a tad bit more to add more of it to the whole mix.  But I really think I'm getting a lot more from the close mics and I like the sound better.  
 
Now I'm just trying to talk myself into adding more "snares" in the snare sound.  I really like tight snares without a lot of "snares" in the sound, but I may be a minority on that preference and I don't want to ruin songs with my weirdo preferences...
 
Thanks to all for all the help.  
 
 

micing drums well,
 i think is the pinnacle of mixing.
 
it takes a lot of time,
a lot of finesse,
and whenever you heard a killer capture on an album,
it was not an accident.