limited money no, but limited time is a definite yes.
Ok, well the D112 is going to work best in one of two places: The kick, or the floor tom bottom. You can easily live without the floor bottom (as long as the top is miked), it's only really for the ball-rattling low end - so I'd prioritise the kick.
The 421 works really well on snares, and I'd go for it over the "standard" SM57 almost every time.
The KM184 (I assume that's what you meant, I've never heard of a KMi 84) works really well on hi-hats, although if you use more than two toms, then I'd prioritise all toms over hi-hats. Hats are really loud, spill into almost every mic, and are probably the loudest thing in the overheads (unless they're closed and played quietly). I just like having one if I can, just to give me that extra bit of control. You'll have no problem hearing them without a spot mic either way.
What's left is the sm81x2 and AKG D707Ex2: Use the two sm81 mics as overheads, since they're a pair, and they're both condensers - the extra high end detail makes them much more favourable for cymbals in overheads, rather than dynamics. And, handy enough, the D707E is a dynamic mic. Dynamics are usually favoured on toms, as they round off transients a little better and makes the sound a little less clicky. One on rack, one on floor, sorted.
As I said though, if you've two rack toms and a floor tom, use the two D707E mics on the racks, and the KM184 on the floor tom. It'll probably sound a little more coherent.
However, don't just take my word for it. Test everything out if you get a chance. Try that setup first, if it doesn't sound great, try repositioning your mics. If you're still not satisfied, take a few minutes to hold every mic up to each drum, and get somebody to monitor how it sounds and write down how well the mics match with the drums. Then, make your decisions. I know that you may be limited on time, but if you come to mixdown and you've got a below-par recording, you'll kick yourself.
Also, they're all really good microphones. There's no reason they should be holding you back from a good recording. Just try to place them well, and watch for phase. Watch for phase.
Watch for phase!!! (it can make or break a drum sound). Do your best with the room, and the kit. If the kit is bad, beg borrow or steal a good one, and for the love of (insert religious figure), make sure it's tuned properly! Do your best to get the room sounding as good as possible too. If you need help on that, post a thread over in the studio building and display forum, as those guys will probably be able to give you really good advice on temporary room treatment.
And finally, read this:
https://homerecording.com/bbs/showthread.php?t=273077
Then, when it's all over, post it up in the mp3 clinic. I'd like to hear the results
Good luck
