Well it would help if you had a drummer that played solidly...
Overlooking that, the overheads are way, way too tinny and harsh/strident. The ride sounds *terrible*, the high hat is limp wristed, and the cymbals are just white noise washes. Zero definition on the kick... hallmark of the Beta 52. I hate that mic, along with the rest of the Beta series Shure mics. Snare isn't too bad--at least it isn't really boxy sounding. A tad bit thin.
My guess is over use of equalization. Too many boosts result in an unnatural sound, an unnatural and thin high end, and a boomy, tubby kick that just doesn't work.
Personally I wouldn't have put my drum kit where you put yours... I put mine in the corner about 3' from the walls either way. Elevated 6" or so if possible, with a semi thick carpet to try and cut floor resonance down. I swear middle of the room is the worst thing you can do, but in the middle of the wall is bad as well. I just go for the corners.
I can't comment on the toms because I didn't hear them struck in that demo.
Honestly, go with matched pairs--or at least the same mic--for overheads. Watch the EQ... as a general rule if you are boosting more than 6db of eq something is wrong, wrong, wrong with your mic placement or mic choice. In honesty I don't have to do much more than 2 or sometimes 3db boosts or cuts on any drum eq's.
What mixer? What preamps? What AD converters? What media format? These are also helpful to giving you advice to improving your sound.
If you want my advice in general you need to get your overhead situation sorted out--get those to sound AMAZING on their own and then add the kick mic... get that to balance out and sound great, and then use the close snare, tom and high hat mics to bring out elements in those drums you aren't getting in the overheads.
Overheads are the KEY to good drum sounds. Having two quality condensors on overheads, running thru some good preamps and thru good converters will get you 90% of the way there every time. I'd rather have 2 AKG 414BULS and a D12 to get drum sounds than an arsenal of lesser microphones. Heck--you could still stick SM57's on snare/toms and it wouldn't cost much more.
Above all, drop some cash on your overhead condensors, spend some time with them, get *at least* Mackie level preamps and you'll find getting drum sounds isn't hard.
Oh yeah, and the drummer and their kit help out as well.
Drum sounds are simple if you have the right tools. It's only hard when you have iffy tools.... Why do you think pro's are so fussy about what they use to record drums with, the fact that it always sounds good, and it isn't hard? They use the good stuff.
Maybe you can't afford THAT good of stuff, but there's tons of things that can get you most of the way there.... like older Rode NT1 mics, before they were made in China.
