You're conflating some stuff here -- the Rec N Share app is absolute garbage -- I agree with you there.You can post edit? If you use large toms, or 2 FTs, you can hear the 2nd just as well as the 1st?
What if you want to split screen? Or talk?
I've heard several, and only 4 piece kits have sounded good.
Could you post a vid?
I'm saying the actual EAD10 hardware is great. You can use the EAD10 as an input for any DAW. I haven't had any issues with tom sizes or kit sizes (up to a 2-up / 2-down configuration -- with a 3-up config, that small tom on the far left does get lost. With two floor toms, my second drum is usually an 18", which puts out a LOT of sound, so that makes sure it can be heard).
As for fixing in post -- if you're using spot mics, you can adjust relative volumes, and do things like apply different signal chains to different drums. But you still can't really fix "mistakes" easily -- everything in the spot mics is also being caught by the overheads You can usually punch-in and record an entirely new version of a section (depending on things like cymbal ring), but you can do that with the EAD10 running into a DAW as well.
It really comes down to what kind of recording aesthetic do you want -- are you looking for an "in the room" drum sound? If so, the EAD10 will work great for that. Alternatives to that would be any of the 2- or 3-mic drum methods (Glyn Johns, Recorder Man, etc.). That's going to be a very different sound than a more produced "every drum gets a spot mic". But that's not due to any shortcomings in the EAD10, they're just very different types of recordings.
I actually use the EAD10 even when I _am_ doing a full multi-mic rig -- I'll either leave it natural and use it as my "fat mic", or I'll compress / distort it and use it as my trash track. Mixing it in under the "clean" multi-mic sounds can add a nice bit of growl to a modern track.