What i have found is that you want do make it easy to mix and therefore choose mics that eliminate the common problems, like if you have a guy hitting the cymbals real loud for lets say metal you might want to go with a duller mic, but often if you have really loud toms or not so loud toms they can be really loud in the lowend so therefore you might have to keep the (ribbonmics?;P) further away to only have the loud volume in the cymbals since distance kills low volume sounds. Also like if you have a certain tone, feel like the snare is very buzzy or dull you want to considering a mic that is going to eliminate the kick and hihat because they often tend to go into that close mic which i think eliminates the tonechanges that can be applied afterwards. So if you have a loud bassy kick and a loud bassy snare then maybe if you get a less boomy mic you will get the kick out of the snare, but then you will have more bleed in the hihat so then maybe you have to have a dull hihat or a dynamic mic that is quite bright but only takes up close sounds? I haven't really thought about this topic that much lately because i have gotten stuck in that area, which mics that actually are usable in which situation. What i find is that if you have a certain micpositioning you often get closer to the same result you get every time you choose that setup. Since music isn't static you might want to consider why you are choosing a certain setup, for what puprose, do you like a tubby upfront snare or kick etc, how is it adaptive to the situation.