I never mic the toms separately. I use a pair of AKG C-1000's in an x/y configuration exactly above the center of the drum kit. I close mic the snare with a SM57, and put another one underneath the snare too, to get some snare crisp (when mixing I usually turn it down quite low but still it's nice to have it there). Then I have an AKG D112 (how very original) for the kick drum. I usually end up placing this just outside the hole in the front head, aimed at where the beater hits. This usually gives the best balance between the beater click and the low end from the front head.
So this gives me five channels of drums: OH left and right, snare above, snare underneath and kick. If I only had four channels available, I'd skip the mic underneath the snare.
One thing I will try now when I just bought a Rode NTK is the trick that some engineers promote: To close mic the beater on the kick drum, for instance with an SM57, and then build a tunnel out of mattresses or blankets and place a condenser (in my case the NTK) at the end of that tunnel. Maximum hit from the 57, maximum low end from the NTK.
And just as Blue Bear points out in his post, moving a mic just an inch can make a huge difference in the sound you get.
/Henrik