The goal of Recorderman is to be mono for the kick and snare, but stereo for the rest of the kit. But it's not an exaggerated stereo spread. I have to think that using 421s has something to do with this though--they are going to have less transient response and less high-frequency response than a condenser. That information is critical for stereo location. While 421s might sound good in a different, more widely spread configuration (where there are more phase differences to create a stereo image), they might just be a bad match with Recorderman.
You might try a modified Recorderman that rotates the mics counterclockwise (looking down at the kit), a bit more towards the ride for the right rear mic and the hat for the front left mic. The kick and snare will go slightly out of phase between the two mics, but it should still be acceptable. Heck, it might even help.
Another thing to try is stay with Recorderman, but toe the mics towards ride and hat. There you are taking advantage of the directionality of the 421's response, while still keeping the low- and mid- frequency info from the kick and snare intact and in phase. The danger here is the loss of high frequencies from the crash cymbal, so I probably would be hesitant to try that with rock music. Could work well for jazz.
