raindrops, the CAD mic you mentioned isn't too bad at all. I did some live recordings with one and the kick with a bit of eq turned out well for metal band drummers in particular, and it seemed to work on on some other styles.
After having used the "curved" mics that SpamBurgler mentioned, I came to the conclusion that their versatility was not very good. I have tried all the one metioned and they all have a "sound", but I was finding that they only worked on certain styles. If one of them fits your style, great. If you are recording a variety of kits and different styles of music, this can get expensive having to buy all these pre-emphasised mic's for different styles and/or drums.
I stay with
the RE 27 n/d because with a little placement and attention to gain structure on the preamp, it has a very up front, open sound if I want that, with lot of attack if I want that, with huge bottom if I want that, with subdued attack and/or bottom if I want that, etc......It really comes down to placing it well. The one thing I like about it is that no matter what type of sound me and the drummer are trying to get, the mic has a presence that many of the other mics mentioned just don't have.
As SpamBurgler mentioned too, the RE 27 n/d has a variety of OTHER uses too, which makes it $900 price tag (new) worth it. I have used it for voice, trumpet with harmon mute, Saxaphone (this is it's other primary use when I use it....KILLER sounding sax mic!!!) bass guitar cabinet micing (again, very good.....). I once used it to mic a troublesome lead guitar sound. The guitar player had a very, errrrrrrrrrr, "unique" tone (use you imagination on what I mean by that....
) and was unwilling or unable to change it to play. The characteristics of the RE 27 with a little moving around caught a tone that was very surprising.
One of the limitations of the D 112 and the Beta 52 is in how they are designed. The mic cable connection is on the bottom of the mic at a 45 degree angle from the front of the capsule, instead of the back like most other mics. This can be VERY troublesome in getting a good placement with the mic in a kick drum with a front head with a somewhat smaller hole in it. There is about a 2" to 3" area just inside the hole that is impossible to place these mics in, and funny enough, I have found it is that same area that seems to work out so well. Silly isn't it?
I say again, just about any engineer who has used a RE 27 to record kick would probably pick it over just about anything else for that application. With it's versatility of being used with great results on a number of other applications, you really can't go wrong with it. I doubt that there is a kick sound that you CAN'T get with this mic, and you gain a very good Sax and Voice mic, as well as a good troubleshooting mic of other things.
I was lucky and found one for $450 used about 4 years ago. My lucky day!!!
Ed