jimmyjazz is giving me too much credit. That session was engineered by my frequent partner ( www.charliekramsky.com ) and not by me. FWIW, the mics on that session were likely: Beta52 and fet47 on kick, 57's on snare, 421 on each tom, probably a miktek C5 on hat, Coles 4038 on overheads, Dragonfly deluxe stereo pair on rooms.
AUTF, the advice from the other guys above is as good as anything I could offer. It's good to hear that you have reasonable expectations ("demo worthy"), because I've also tried to record drums at my house, and the results were pretty meh, even with what I thought at the time was a decent-sized living area. There are just way too many things to overcome -- no proper listening environment, no isolation from control to live room, inexperienced engineers (me), and a boxy-sounding live rooms with poor acoustic properties.
So my microphone advice in general:
- Don't spend too much on mics, especially right out of the gate. Something on the kick, a stereo pair of overheads, maybe a top snare. 20 hours of experimentation moving the mics and kit around will take you a lot further down the sonic road than will writing a giant check to Sweetwater.
- In general, everyone who starts recording at home runs out and buys a mid-level large diaphragm condenser. Most of those sound awful. It *seems* like you're using what the pros use, but in reality they're a very poor value for the money, and they're really good at getting more of your bad-sounding rooms to tape ("tape" includes whatever software you've chosen). I was guilty of this as well. I bought and sold a LOT of large diaphragm condenser mics in the $500-$1500 range.... AKG, Neumann, etc. A lot of bad decisions. I should have listened to the engineers who were giving me the exact advice that I'm giving now.
- High quality dynamics are a much better value ESPECIALLY if your room doesn't sound very good. There's no shame in a Shure 57 (buy only from reputable dealer... fakes are everywhere). An RE20 will serve you well for the next 30 years, and they're fucking fantastic vocal mics. There's a reason you see them all the time in front of radio DJ's and podcasters who have any reasonably-sized budget. There are a lot of other dynamics that you could deploy both on drums and in front of your guitar cabinets.
- Along those same lines, a pair of ribbons could serve you both as overheads and on guitars.
- Very rarely is a specific microphone the secret sauce in a signal path. There are few exceptions to that statement, IMO.
- Have fun. Try not to let the technical bullshit distract you too much.