I use the best mics I can afford for overheads, mainly because they are attempting to pick up the entire kit. Many times, I use AKG C451B's (matched stereo pair), but other times, I will use some flat side-address condenser mics, like a couple of Shure KSM44's, AT4050's, or AKGC414's. The rest of the kit gets a D6 and AT4047 on the kick (in and out, respectively), SM57 on the Snare (top), Audix D1 under the snare, some Sennheiser MD421-U5's on toms, an AT3030 on the hi-hat, and a Royer R101 for room mic, if not a tube mic.
This is a lot to buy, but the point is to find the best matched mics you can for overheads. Even your best vocal mics may be worth a try. If you have a semi-good stereo pair of mics and one really good vocal mic, use the vocal mic in the center. Nothing wrong with 3 overheads if phase is easy to manage for you. The rest of the kit is typically to bring out only what the overheads don't reveal in the kit (or the drummer), so those mics may be more "utility" than used for character.
Sidenote: More experienced drummers hit the cymbals less and with a lighter hand, hitting the toms harder. "Cymbals are your friends. The toms are the ENEMY!" - I forget who said that! Great drummers also know how different a kit may be tuned for studio vs. stage, what heads to use, what sticks, and how to play. This will make more difference in the overheads than anything else you'll work with.