I once got pretty great tom sounds using 414s in hypercardioid. The cymbal setup was such that I could keep them away from the rear-facing lobe, so rejection was great and I got good transient attack plus the low end proximity effect that hypercardioid gives. What bleed there was sounded better than the washy, trashy off-axis sound of most dynamics, too.
That said, I’ve also got tom sounds I’m proud of that sound lively in the overheads and rooms, and 3x57s on close mic duty around the kit just gave that extra little punch and localisation in the stereo field.
Also once used the weedywet method (@Mixerman will know of what I speak!) and added a single condenser underneath the two floor toms to bolster the low end boom a little because it suited the track I was working on.
I don’t tend to like jamming billions of mics on and around the drums, so I’d feel like two mics per tom batter side would be overkill. I don’t think I subscribe to the notion that you’d somehow get the best of both worlds with a dynamic and condenser side by side. You’d just get a louder signal that may or may not have phase issues and may or may not sound better than the signal from either mic on its own.
It’s kinda like my attitude to the popular guitarist thing of mismatching speakers in cabs to get some compound tone that’s bigger than either speaker alone. Don’t do it. Pick a speaker you like, and revel in its strengths and weaknesses. Bask in its character. This is the same thing. Pick a mic, regardless of its mechanical mode of operation. Pick one that sounds good to you on toms, and use it.
@vtr, the weedywet idea pretty much negates the need for tom mics - it’s just two good drum kit mics, that are placed near the rack and floor toms respectively and with careful placement will capture the whole kit with a balance that sounds like the drums do.