Nearing the end.
Ok, here's some tips on miking some other instruments:
Horns, what mics and polar patterns to use
Most horns put out a lot of energy, so close miking is not a good idea. About 18" away is a good starting place. Start at the bell level and work your way up to pick up more breathtones and output from the keys, in the case of saxaphones.
Generally, you can use a large diaphragm dynamic, a ribbon, or a large diaphragm condenser mic with pretty good results. The Sennheiser 421 is a great choice for a dynamic, almost any kind of ribbon, or a !" condenser mic. Cardioid is usually the pattern of choice.
Choirs, pipe organs, and large stuff
Small diaphragm spaced condenser omnis or cardioids generally work best, pulled way back to capture some of the room as well. I usually split the sound source into 3rds and put a mic at the 1/3 and 2/3 points. (If the source is 60 feet wide, I'd start with mics 20 feet in and 20 feet apart and adjust from there.) How far away depends on how much reverb would sound good. I'd start with about 1/3 of the way back from the source, then move in closer or out further, depending on how much reverb I heard in the phones.
Flutes, clarinets, and misc. woodwinds
I like small omnis, but cardioids may also work fine too. Try miking from below the instrument to minimize breath noises, but this really requires a lot of trial and error experimenting to get right.
Concert and Celtic harps
Very difficult to get a good sound in a less than perfect room, but generally, a pair of X/Y small cardioids about 4 to 6 feet away, placed as high as the instrument is tall, and aimed slightly downward. Use your quietest mics, since these things don't put out a lot of sound and pedal noises can often be a problem. A couple of hints: Try putting the harpist (harpy?) in the corner of the room, facing out, to pick up a little more fullness without using eq. Also, try putting the harp on a 6 foot by 6 foot plywood sheet on the floor to help bounce a little more top end into the mics.
Misc. Percussion
For tambourines, cowbells, etc., a small omni is usually best, placed about 2 feet above the instrument. Watch your levels, and don't exceed -10dB, since most of the energy won't be shown on your meters. For misc. drums, try a large diaphragm dynamic mic, or a small cardioid condenser, and try miking close to the top, and even try miking from below the drum.
Digeredoos, harmonicas, and other odd shit
A dig is like a single organ pipe - with weird ass mouth stuff attached. Use a small condenser cardioid slightly off-axis from the end of the thing and adjust the height to pick up more mouth action. Harmonica players usually have their own mic, but if not, try your cheapest dynamic into a small guitar amp with a little bit of distortion. For clean harmonica, try an omni, about 1 foot above the player and 6" in front, aimed straight down. For other odd shit, I usually reach for an omni or small cardioid to "capture the moment".
OK, what have I left out?
