Using Two Mics
Shure Beta 52a placed inside kick drum which is baffled to deaden the sound. In my experience for most popular style genres, deadened kicks record better. For styles like jazz, you may want to leave a bit more resonance and note to the kick drum. Talk to the artist, they probably know their music better than you do.
For the overhead mic, Bob used a large diaphragm condenser set to cardioid overlooking the toms and the snare drum
Using Four Mics
OH: Bob used two Neumann U87's placed 31" from the diaphragm of the mic to the rack toms, overlooking the kit.
Snare Top: Shure SM57 (no snare bottom mic necessary)
Kick: AKG D112 inside the kick drum hanging inside the kick drum shell, suspended in the center.
Using Multiple Mics
Kick: Shure Beta 52a placed inside kick drum port for more attack of the beater.
OH: Here, Bob uses a stereo ribbon mic for his overhead mic, the Royer SF-12.
Toms: Sennheiser 604e, a fantastic clip on mic (usually for live purposes). Bob extends the clip as far as it goes to get the most body out of the tom toms.
HH: AKG C452, about 3.5-4" away pointed at the bell of the hi-hat on the top side, for a crisper attack.
Snare Top: Shure SM57 about an inch and a half above the snare and just past the rim of the snare, pointed toward the center of the drum.
Snare Bottom: Shure SM57, off-axis pointed toward the center of the snare about 2 inches away from snares and with it's phase flipped.
Room: Neumann U87, set to omni and placed a few foot above head height and slightly angled.
