Peter-
Everyone has a different perspective on things, its important to realize that nobody ever made a good sounding record following advice. Make sure you keep an open mind to new ideas regardless of what info you read online. You should place your microphones where they sound best on the instrument that you are trying to record in the acoustic environment that that instrument is being recorded within. In the case of acoustic recordings, without trying to offend anyone here, I find it a bit ridiculous to dole out specific advice unless you know the a)source and b)room. These two things will far determine what you have to do in order to make a good recording vs. what you read on the interenet that seemed to be the best approach. If you are tracking on a neve 8068, perhaps a condenser with a 5K peak would be really helpful to get the right style of "click" into your beater since you've constantly got the slow high end battle happening with a console like that. If you are tracking on a digital platform, the exact same signal path can sound really thin. If you are using a felt beater, that 5K peak might also be really good as opposed to a wood beater where it might be too much. The way the drums are tuned will play nearly a %100 part of the sound of the recording you make and the way you place the baffling inside the kick in relation to the front and back heads, of if you use a front head or if you use baffling or what that baffling is, all these things will effect your outcome. If your kit is on a riser, or on a concrete floor or a wood flooor or a carpet floor or a concrete floor with carpet or a riser with carpet or a wood floor with carpet or a riser with two carpets or a wood floor with two carpets, this will all effect the sound of the kick drum.
I can go on and on but Im guessing you can see where Im going... You can EASILY put a condenser inside a kick drum and get a very open sounding kit if you know what you are doing. Its impossible to have any kind of intelligent discussion about drum kit mic'ing unless you KNOW how you plan to attack the mixing process. If you know that you are going to put a hipass filter at 4K on your overheads, than you know your kick drum micing is going to need to carry the kick drum in the mix in a very particular way. If you know you are adding 4dB at 120hZ to your overheads, than obviously your kick drum mic'ing is going to represent a very different thing. You can use a kick drum mic to record the sound of the kick drum for presence in your mix, or you can use it just so you have a source to compress for rumble, finding your kick definition from other mics in your setup.
I used to post alot on other boards in regards to "recording advice" and it ultimately became very frustrating for me as unless you are there, with the gear, with the circumstances, its all ultimately kind of worthless as there are far too many things dependant on this or that for some advice like "put it here and turn the knob that much" to really have any relevance in my experience. Believe me, Ive had some very experienced people give me their grammy award winning advice on how to record stuff and in the end you always have to listen. Open your mind, set up your mics and listen. If you arent moving mics around alot on your session, you should try it out and see if your recordings improve, they probably will. A microphone is set with the ear, not with the eye and the perfect mic setup is one that reflects a plan far more than a good sound. Listen to Red hot Chili Peppers "blood sugar sex magic" really incredible sounding drums on the record, but if you listen closely to the kick or snare up close, those are really terrible sounds that I dont find too flattering, but they work with the plan in many ways better than records that have a great sounding kit all alone...
Use your ears, its the only way. Only you will know, on your gear, in your room with your musicians trying to achieve the sound YOU envision, only you will know what sounds really good. I can give you my advice based on my room, my kit, my gear, etc. and I can virtually guaranttee that it wont translate whatsoever to someone using a digital recording platform in a different room. Keep the difference in perspective in mind when you filter the recording advice you get online. Everyone has had great things to say on this topic, but they'll all take you to different places. Close mic'ing a kit wont necessarily give you "80's" sound if you gate the close mics and use them to trigger room mics, that can give you a wildly ambient sound... Perspective is everything.
Whoah, sorry to freak out, I gotta get off to my session-
dave