Add a compressor to your bass (“kick”) drum track, starting with a ratio of four-to-one and an attack of 5 to 10 milliseconds. Set the release time fast enough so that the compressor kicks out by the time of the next bass drum beat. Cut any treble frequencies above 15,000 Hz out from the track's EQ.
Introduce your overhead microphone tracks to the mix. Cut the sub-bass frequencies below 100 Hz from your overheads, using a high-pass filter or channel EQ plug-in. Reassess your kick drum sound. Cut the EQ slightly (about -3 dB) at 300 to 600Hz if you feel there is a “boxiness” to the bass drum. Boost the 80 to 100 Hz range by 3 dB for extra bass thump if required. Assess whether the “snap” of the beater is sufficiently audible and, if not, try a slight boost (again, about 3 dB) in the 2 to 4 Khz frequency range.
Introduce the snare drum track to the mix. Add a compressor to the snare, starting with a three-to-one ratio. Cut frequencies below 100 Hz from the snare track. For extra “crack” in the snare, add 3 dB in the 3 Khz range, or use a similar boost between 4 and 8 Khz for a brighter sound.
Automate your tom track so it is muted unless the tom is actually being hit. Cut the EQ between 300 and 800 Hz by an initial 3 dB, then assess the toms in the mix, boosting bass frequencies for extra boom, or higher frequencies for additional snap. Pan your tom track to the left or right speaker, or one on either side if you have two tracks.
Add a reverb to the snare drum. Choose a reverb that suits the feel you need for the drum sound. Use a longer reverb time for a splashy, 1980s sound, or a shorter reverb for a less noticeable effect. Send all drum tracks except the kick drum to a “room” reverb. Use this most liberally on the overhead mics.