Again depending on the kit, it is sometimes not too unusual to use anything from five microphones to twenty something on the drum kit. I treat every session as a new and individual entity. When I'm working in a commercial studio anything goes, because now I'm not the only person that has to be satisfied with the quality of the sound being tracked. Here in my personal studio I'll use anything from three to fourteen, mostly depending on the size of the kit and number of room microphones. I would sometimes use just two or three microphones to cover the entire musical ensemble that was later edited and pressed to vinyl. When working as a field engineer for a major record company in the late sixties, I would be equipped with four Neumann U67 microphones, a small mixer and a Magnecord 1022 tape machine. Early in my career I used very little close miking techniques. It really depends on the situation and room. If you can afford it, Audix has great drum mic packs.
(But good preamps don't hurt - I have a couple of them.) They sound crystal clear and since having them I've stopped dreaming of Neumann or other prestige brands. As for those MK-319's - I bought them for about 330 Euros & about the same price for modification and shipping to/from the USA. Good overheads doesn't mean you need a fortune to buy them. Sure some additional mics couldn't hurt but the improvement was stunning. Those 2 overheads _alone_ made everything clear up so much, the sound was transparent and everything from the drumkit was represented. I had 2 (of some 15 mics I have) with me, it was Oktava MK-319 large condensers (matched stereo pair, modified by Michael Joly/USA) and we mounted those as alternative overhead mics. I was once joining a band rehearsal and they had set up mics from a drum mic kit (5-6 mics) and weren't happy with the sound via the mixing board. As to overheads - use the absolute best mics you can afford.
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