I've used SM58s for nearly *every* part of a drumkit in a live PA situation: kick, snare, toms, ride cymbal, & hihats. In a studio I don't think I've ever had to resort to 58s but I'd still use 'em if that was all I had. Only place I'd avoid is for Overheads.

And if you've got good overheads I'd skip the hihat mic altogether.

You've got all the mics you need. I assume you're thinking of using the Rode NT4 as a stereo overhead, the Beta 52A on the kick drum, 2x SM57 as top and bottom snare mics. With a well-tuned drum kit in a really good sounding room I'd be tempted to stop there and see what it sounds like. But in less than ideal conditions, go ahead and mic the toms and hi-hat with the remaining 57s and 58s. They're very capable mics.

Best of luck.

You can always experiment with all of your options and see which mic works best. Like BusterMudd said an SM58 will work on just about anything you throw at it, now it may not sound as open and thick as some more expensive mics but it will get the job done!

Cheers,
Nicholas

Just remember you can always unscrew the metal ball on your SM58/Beta 58 and it becomes a 57 and much easier to place in tight situations. I've used both 57's & Sennheiser 421's on entire drum sets including overheads. And if it's a good drum set you're going to get one heck of a great recording with those microphones that you already have. It's the standard MO for drum sets.

Same MO
Mx. Remy Ann David

The only thing I can add to the above is that if you have a spare 58 (not micing toms), use it as a room mic.
Put it anywhere, put it everywhere.
Depending on the size and acoustics of your space, your results will vary, but it's worth a try.

And skip the hi-hat mic - unless you're doing a disco song or you have the channel to burn

As was said above, the 58 is essentially a 57 with a pop filter. But I've always felt that when you removed the big silver ball the capsule looked kind of vulnerable. So, if you do that, I'd use it on things like under snare or high hat where it is harder for the drummer to hit.

BTW, I usually throw a mic on the high hat if the track is available. You are not forced to put every mic that you track into the mix - but it's nice to have them if you want to highlight them.

Michael Wagoner recorded Kings X using 58s on toms. I emailed him about it and he said that it only made sense, seeing that he EQ'd the toms to sound pretty much like the 58s frequency curve. He also used that same set-up when he recorded drums outdoors. That was unique.