Well, me? I have a couple of B&K 4011's that I really like for acoustic guitars. I usually record them mono, but if it calls for stereo, I'll put my ear around the sound hole to find a sweet spot for one side, and then maybe go up the neck and a little off axis for the other. If the acoustic guitar has a decent direct, I sometimes might use that on one side and the mic for the other. I will vari how I record the accoustic guitar depending on what it's supposed to be doing. For example, if it is playing backbeats along with the snare, or strumming a rythm part hard, I'll thin it out some and compress the heck out of it. A lighter picking part, I may use a C-12, or some large diaphragm condensor and try to capture most, if not all of the overtones. KM-84's work, as do 452's. If I am in a great sounding recording space, I may use an omni, or a Royer ribbon with a figure 8 to get some of the room around it. You also need to place the mic according to how present you need the instrument, and utilize things like proximity effect before you reach for an EQ.
For drum overheads, you can't beat a C-12, although I know most folks don't have access to them. 251's work great, AT 4050's are pretty good.....414's usually work. If you need a tighter pattern, 452's will work in a pinch, but they can get a bit hard and splashy sounding if you place them too tight.
oh, and in the words of the great George Massenburg, mileage may vary......