Using AKG and Shure mics to record drums - no problems

Just wanted to post that I'm using Sonar X1 Studio to record drums and I'm having a good time. I know for me, getting suggestions on "what works" was difficult since there are so many opinions etc. Here's what I'm using, in case someone wants any suggestions as to "what works". Thinkpad T61 Windows 764 Sonar X1 Studio Tascam US-1800 To record my drums, I'm using the Glyn Johns method. My overhead mic is an AKG 220 LDC. My side mic is the same - AKG 220 LDC. I am using a Shure SM57 on the snare. For the kick drum I'm using a Shure Beta 52a and an SM57. I am using both mics because the Beta 52 gets the low end and the SM57 gets more of the 'crack' from the bass drum. I then mix the sounds to my liking. Using this method gives me great sounding drums. The drums have that "open" sound to them, obviously since I'm not close mic'ing any of the toms. The trick to this method is to get the best overhead drum sound you can - using mic position and balance. I then fill in the snare (using the snare SM57) and get some bottom end and crack from the kick using the Beta and SM57. The Glyn Johns method of drum recording is a pretty simple solution if you want that open drum sound and don't have or want close mics for the toms. The biggest rule to remember is that both the overhead and side mics MUST BE EQUIDISTANT to the snare drum. That is, in my setup, I have the overhead mic pretty much over the snare pointed a little towards my hi-hat and EXACTLY 46cm from the center of the snare to the mic logo on the AKG mic. The side mic is off to the right (near the low floor tom) about a foot behind and 8" above the top tom rim. This mic (also an AKG 220, same as the overhead) is pointed at the hi-hat and across the snare drum, and is EXACTLY 46cm from the center of the snare to the mic logo. This is important - the equal distance ensures the snare drum remains in phase. Any sound coming from the snare drum will travel at a fixed rate (the speed of sound, naturally). Since both mics are EXACTLY the same distance, the sound will hit both mics exactly the same time - ensuring perfect phase. This does two things - keeps the snare drum sound in the center of the stereo mix, and keeps the snare drum sound perfect - no phase cancellations. Naturally you must pan the mics Left and Right when you mix down - I pan the overhead L and the side fill R. Because of this setup, my snare sounds in the middle of the stereo mix, the hi-hat is off to the left, the hi tom is off to the slight left, the low toms are off to the right and the cymbals are both left (16" crash) and right (18" crash and ride). The kick is in the middle as well. You can experiment with the mic positioning of the overhead and side fill mic. Some people aim the overhead directly at the kick drum. I aim the overhead closer to the hi-hat and hi tom because of the way my drumset is configured. It sounds the best in that position so I that's what I use. This is a very simple setup - you can mic a drumset with three mics - the overhead, the side fill and a kick mic. I use a few more because, well, I can. Using Sonar and my Tascam US-1800 to record, I am getting excellent sounds. If anyone has questions I can surly try to answer them. I basically posted this to show what I use, hoping maybe I can help others who had similar questions that I had when I started out.