Hey...you gotta start somewhere.

Will you get "pro" recordings with that setup and firt time out...I doubt it.
Can you get preety good recordings...yeah, it's possible...but it will take some time, effortand experimentation.

For drums...you can get by with 3 well placed mics...if you have a decent kit and a decent drummer.
I would not use vocal condensors right up against the Snare or Kick. Use a dynamic mic...like a Shure 57 or a Sennheiser e604 (my current choice).

Also...why trigger the bass? Have you tired using the real thing?

If you don't need a true stereo kit...then hang one OH mic right about center, between the Snare and Kick...right over the drummer's Kick knee.
Then put up a dynamic on the Snare, facing AWAY from the HH...and drop another dynamic (something with good low-end response) inside the Kick, about 4" off the head and off axis but facing toward the beater spot.  You can even just lay it down on a pillow.

And then give that a try and see how the mix of the OH and the two spot mics works for you. That's about as basic as you can get witha kit setup.

Cedric,

You don't know what you are doing... fair enough.  Everyone has to start somewhere.  But your stated goals are in conflict with what you say you will do.  Honetsly, your first recordings are very likely to suck.  Is that what you want for your band?  Now, you are going to have to devote a great deal of time effort and some money into learning how to record.  Time you could have spent becoming a better player, working on the songs and arangements.  Or just drinking beer.

Meanwhile, there are already 75 guys on your block with home 'studios'.  Good, bad, or indifferent, they are still already better than you.

So if you really want to do a low budget recording, find a low budget guy.  If thre goal is to come out of the other end of the project with a usable CD or demo CD, you'll get there quicker and with fewer headaches by letting someone else do all that work.

If your goal had been to have a studio, the answer might have been different.

There is also some sort of warped concept that big bands go to big studios just because they have a lot of money, and that anyone can get the same sounds in their basement with ten dollars and a sound card.  That just isn't true.  Big bands have money managers and accountants, who all want to know where the money goes, and are stingier than anyone's wife.  Look at the Stones... Mick is known to be tight with a dollar.  But the Stones have never worked in any label studio, they record in the best studios in the world, finish the product, hand it to the label and tell them to release it.  They spend the bucks to get the sound, because they know how important it is, and how hard it is to get.  If you could do it on the cheap and still achieve that great big room big dollarr gear sound, everyone would be doing it on the cheap.  You can always point to the odd duck who made a great recording on an answering machine in a packing crate, but these are not the norm.  Mostly, I hear a lot of very poor home recordings made by bands who thpught that somehow they might save money by doing it themeselves, and found that there is more to it than they thought.

  Bill

Go for it!  They're right, the recordings won't be as good as they might if you had some knowledgable pros working on it, but you'll have fun.  You didn't mention who's going to be listening; if you're just playing for fun and putting the songs on myspace then with some reasonable effort you can create something passable.  OTOH, if you're wanting these sessions to make you money, ie, demos for gigs and radio, then you ought to go the pro route.

Here are some excellent mics for drum overheads, the MSH-1 small diaphragm condensor.  There are some audio clips on the page, too.

http://www.naiant.com/studiostore/microphones.html

Also consider these as a workable substitute for the SM-57:

http://www.speakerrepair.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=37-206&Category_Code=microphones

Yeah...that's kinda' what I posted previously in thisthread...with only one exception...I don't place the M/S out in front of the kick...but rather right over the kit so that the M/S pair are about where ther drummer's kick knee is, and centered between the Kick and Snare equally.

Having the M/S out in front...you don't get the Toms, HH as well...and you end up with a real big cymbals, as the cymbal sound comes off the edge of a cymbal.
With the pair out in front and high...the edge of the cynbal is pretty much aimed right at the M/S pair while the Toms are facing down and back away from the M/S pair...and the HH is rather buried.

Over the kit....the M/S really picks up the Toms and Hat...and the Snare and Kick...but the cymbals become nicley "tamed" as their projection edges are not facing the M/S pair...and the sound you get from them comes off their tops, which is a lot mellower and will blend prefectly with the rest of the kit.

I'm not saying you can't have them out front...but I just get better results having the mics "inside" the Kit circle rather than outside....