Get yourself a double kick pedal for better bassdrum mic'age (makes overall sound better because then u dont have to worry abuot the two mic's being in overal the same spot, tuning, and other crap, and it gives u an extra input for a tom). That's my advice, im not getting into the rest because you're too vague....do you want to record this all at once? or drums first then each instrument seperatly?

No, Multoc, you need the second kick so you can plunge more hardware and toms into/atop it.

I'd second the double-kick pedal, for what it's worth. No one mic' is going to give you great results on everything (although a 414 comes close...). Buying a Shure SM57 should be your first objective, and any kind of kick mic' after that will give you use for kicks, bass guitar, and hxrdcxre vocals. I'd recommend an Audix D6 for this.

Naw Patrick that's what a rack is for silly! saves valuable inputs and microphones whilst maintaining the ability to plunge hardware into it!

All you really need for your drums is a bag full of Sennheiser MD421's. They're big. They're black. And they're BAD! (OK, so some of them are white.) AND THEY'LL NEVER OVERLOAD!

Puny. White. And Jewish.
Ms. Remy Ann David

Truth be known....recording double kicks is a pain in the ass. No matter how much you try to match them, each drum is going to be a touch different and the tensions are going to be a touch different.....etc etc...even with one of the those fancy tuning tools. Also, you need similar paths for these two mics alone. From the looks of your equipment list, you simply dont have what its gonna take to make a 'close mic'd' recording of this set.

So now were talking 'room micing'.. ....Get a balance from your condensers placed around the kit....listen to the kit being played and select the points where you can physically hear everything the best. Each of these places, put a mic.

Season to taste.

Theres a LOT more value in a personal listening in a room for those sweet spots than is given. Its not so much about the gear as it is about the technique of using the gear at hand.

I would just drumagog them with perfect replacements, and be done with things. Doing this ensures the same EXACT sound, and makes it very easy to adjust volumes levels. Nearly every metal band uses drum replacements.

Thanks for all the advice...

I should emphasize that I'm not looking to make a high quality recording here, I just want to be able to hear everything decently. I'm probably gonna go with the room mic-ing, given the circumstances....

I rather regret going with two bass drums rather than a double pedal, which would have been cheaper, easier to use and move, and definitely easier to record.

so.... If I'm doing a simple room mic-ing, which of those microphones will (probably) work the best?

Thanks again

All of them will work. Condensers tend to pick up 'more' of an area than dynamics. Whether this is better or not is simply a matter of hearing and then knowing.

The quick and dirty way is to have one mic over the drums, and one in front of the bass drum to boost lows. With twin kicks, phasing becomes a problem.

For your situation, I'd recommend a dynamic overhead as a primary mic, and a large diaphram dynamic 3 or 4 feet in front, and MAYBE a PZM 10 feet away. Mix and adjust to taste.

A nice trick would be to put a second dynamic mic right next to the primary overhead, and squash the bejesus out if it, and "hide" it just under the mix for more punch.

You should be able to use the mics you have (not familiar with them personally), and/or buy others. I recommend the EV RE20 (or 27), and the Sennheiser MD421, if you add more mics to your collection. They are outstanding multi-purpose mics that sound great on drums, guitar cabs, bass cabs, and voice. Both are broadcast and big studio stalpes.

BTW, this method is like any other recipe, there are as many variations as there are "recordists!" I prefer the simplest method - just 2 dynamic mics to record a single kick kit. YMMV.