Recording Drums for the first time...

 Search my post in hardware and techniques for ThinkPad T61p and Tascam US-1800. I use these items to record my drums with great success. I have no experience with the mics you are suggesting. I have used the CAD 7-mic package previously. I am currently using a pair of AKG 220 overheads, a Shure Beta 52 on the kick and a SM57 on the (bottom) of the snare. Excellent sounds. However I like the "open" and "ringy" drum sound. You will get that type of sound when using the mics and technique I use. If you want a fatter or "modern clicky" sound then close micing is what you'll need to do. The package of mics you selected should be ok for that. Again, I have never used those mics. The CAD mics I used (which are prolly similar) were ok. Just ok though. I prefer my current setup. The big thing to remember is overhead mic phase - that is you need to ensure that the overhead mics are in phase with eachother and/or prominent instruments - like the snare drum. Otherwise you will have problems with flat or hollow sounding snare/kick or washy cymbals. Close micing can help cover that because you will hear more of whatever you are micing using a close mic, obviously. The Tascam US-1800 works very well for me and my Thinkpad and Sonar X1. Absolutely no issues at all. The small condenser mics in your package require phantom power - enable it using the button on the Tascam. Remember however that the Tascam enables phantom power for ports 1-4 and 5-8. Thus you have at least 4 powered XLR jacks. Keep this in mind if you connect other non-phantom power mics to those jacks. I have no problems attaching an SM57 to an enabled phantom powered jack - BE CAREFUL - you can blow up your Tascam and/or mic. In my case specifically I am not having problems. This is a risk you should understand. The biggest help you can receive is an excellently tuned drumset and quality drummer. No mic or recording software can fix a poorly tuned drumset or bad drumming. I tune my drums by ear and make them sound good in the room. In my opinion, if they sound good to my ears then they will sound good on tape (err, disk?). My drums are unmuffled. That's what I want for a sound. Maybe you want a different sound. The thing is that you can experiment all you like - deleting files is so easy! The key is to get the sound you want from the drumset and drummer. Then worry about mics, placement, recording etc. I record using the Glyn Johns method. I use an overhead over the snare about 4 feet, and a side mic near the low floor tom (on the right) about a foot back and a foot higher than the top of the floor tom rim. These are my AKG 220 LDC mics. I pan them L and R and that is my overhead overall drum sound. The key is to make sure they are equal distant from the snare center. Exactly equidistant. I measure them to be 48cm exactly (in my case - you can use whatever you feel gets you the sound you want). I then use an SM57 on the bottom of the snare for more snare/tone sound. I use a Beta 52 on the kick and a SM57 on the kick. I get great low end "boom" with the 52 and "crack" with the 57. I mix them to my taste. That's it. Very simple setup. It takes 15 minutes to setup the overhead/side fill and measure (with a tape measure - it needs to be that precise) and maybe another 15 to setup the other mics. 30 minutes total and you're ready to play drums and see what it sounds like. You could even use the overhead/side fill and kick mic and be done in 15 minutes flat. Your mic package would take more time to setup - but you'd get a more close drum sound. Again the key is the overhead phasing. The overhead/side fill technique and proper measurement ensures perfect snare drum phasing. It also pretty much keeps the kick in phase too (but you have a close mic for that anyways). With a pair of overheads you will need to make a few test recordings to make sure they are in phase with the snare, toms, kick and cymbals. Then add in your close mics for your snare/toms/kick. Any phase issues will be "covered" with close micing of the toms/snare. Plugging this into the US-1800 should be no problem. As long as you are not having interface/PC problems it should be a snap. Arm whatever number of tracks you need, hit record and go play. I have my overhead mics at moderate gain levels and my others a little lower than the overheads, as far as the level knobs on the US-1800 are concerned. Make absolutely sure you do not clip a single note when recording. Watch the level indicators on Sonar - the US-1800 prolly won't even light up the clip LED. If you record just one clip in Sonar you won't be able to fix it. Just drop a little gain on the US-1800 and try again. I was fighting Sonar vs. US-1800 with clipping for about two weeks when I decided "just lower the input level on the US-1800"! Doh! Now I don't clip and I have excellent drum tracks. I can mix to my taste and normalize the sound when I'm ready to make an MP3/Wav etc out of it. Good luck!

Anyway, any tips with recording or choice of gear would be greatly appreciated. I've been using sonar for a couple of years now, and a full drum kit is something I've never done before, but want to do it right.

 
Recording acoustic drums (well) is one of the toughest tasks for the small studio.
If you want to do it right, don't skimp on the mics.  If you do... you'll wind up buying better units later (which is ultimately buying the gear twice - read more expensive).
 
I'd start with a decent pair of overhead condenser mics.
Then, I'd add a dedicated kick mic (D112, RE20, etc).
You already have a decent snare mic (SM57)
 
With these four mics, you can capture a pretty nice sounding stereo drum-kit recording.
The toms won't sound huge... but with proper placement you can get a nice overall sound.
When not using close mics on the toms, I prefer using a pair of large diaphragm condensers as overheads (larger sound from the toms).  If using close mics on the toms, I prefer small diaphragm condensers as overheads (more accurate transient response).
If you get to the point of shopping for tom mics, note that SM57s will sound good on smaller toms... but just won't capture the fundamental of the larger toms (14", 16", 18").  A good large diaphgram condenser is great in this application (ie: C414).

Such great advice. Recording something that already sounds good is the easiest gig you'll have, unfortunately everybody thinks they are good. :/ Experiment, with experience your ear will get better at micing drums.

Somehow the words Wharfdale and Michrophone do not jive with my small brain. I know they USEd to make stereo speakers. But I get the feeling this is one of these companies that's taken a backslide in the quallity department.
I'll go with what a few have said and say use less mikes but of better quality.
The Kick mike is certainly a focus.
A nice matched pair of overheads is also very important.
I've gotten by plenty of times with just Kick, Snare,Overheads.
In the right room it will sound natural.
If you don't have a good set up adding 15 mikes will still sound bad.
Start with a good acoustic sound.
Watch for ringing, squeaking pedals.
Pay attention to the 3/3/3 rule for the overheads and phasing issues.
Compressor on the kick? To bad the Tascam does not have inserts. I run my kick through my mixer so I can add compression.

Here's an article about drum tracking that I was re-reading last night:

http://www.mercenary.com/3micdrumstuf.html

Thanks for all the advice guys I really appreciate it!

I know what some of you mean by the wharfdale mics, im questioning mmyself about them in all honesty. As I said I'm on a budget, but still want to get the full kit mic'd up as my drummer (even though we're a pop punk band) uses his toms an awful lot and i want to get a nice tom sound going. 

But as someone said earlier, on a budget vs doing it properly is give or take haha. I'm gonna purchase a D112 I think for the kick, I've had a bit of experience with that mic before in an old band and it seemed to do the job nicely live.

Another question though, as far as overheads go, and i know this has a lot to do with placement, but my drummer has a lot of cymbals, and yes he uses every single one of them, how could i go about picking them all up with two overheads?

Another question though, as far as overheads go, and i know this has a lot to do with placement, but my drummer has a lot of cymbals, and yes he uses every single one of them, how could i go about picking them all up with two overheads?

 
Start with a well-tuned pro-level drum kit (in a good sounding room)... played by a good player ... and you're job will be a whole lot easier.
In this type of scenario, a small handful of quality mics is FAR better than 8 mediocre mics.
 
For overheads, a pair of C414-XLS boomed over the top of the entire kit (in an X-Y config) works great
The angle is not nearly as extreme as this crude diagram depicts... but you get the idea.
This captures a great stereo image of the entire kit.  No issues with the hi-hat moving in the stereo field when open/close.  The resultant stereo (overhead) recording sounds great all alone.
Add close kick and snare mics... and you've got a great drum sound with minimal setup.
  
     \_/
      
(Drum kit)

Believe me my drummer's kit is in tip top shape as he looks after it properly.

Thanks for the links and advice again, I'm gonna experiment a few ways, the video that Quantumeffect linked me to was of great help!