Drums

Panning

pan Overhead1 100% left and Overhead2 100% right
listen to the overheads to discern where (from left to right) each drum is coming from, then pan that drum accordingly

Sometimes in jazz you will find the drums panned all the way to the right. This has the advantage that it opens up the whole left side, leaving more space to explore the melodies. The disadvantage is that it becomes more difficult to discern each drum sound.

Kick drum is normally center

Snare is normally middle, but is somewhat commonly placed off to one side

Hi-hat is placed off-center, something like 30-50% left

mixes that are meant to be more spatial benefit from a hi-hat that is panned all the way to one side

Rack toms are commonly heard fully panned from left to right

consider if you will pan left-right or right-left. Are you panning from the audience's perspective or from the drummers

Floor toms are commonly heard panned far right, but when the floor tom is used as a driving force of the beat, it's not uncommon to place them middle (since they serve a similar function as the bass drum)

Reverb

Consider adjusting the pre-delay so that the transients are heard just before the reverb tail.

Try higher diffusion with drums for a glossier sound.

try adding a slight amount of reverb to the entire drum bus before applying compression for punch and/or glue. It marries the ambiance to the kit and makes everything more groovy.

Compression

Fast attack allows us to hear more of the drum sounding out in the room (ie. a smoother sound)

if it's too fast, we will neuter the transients

Slow attack allows us to focus more on the toughness and the punch of the drum hits

Slow release

tighter snare
less growly "in your face" kick
cymbals become less bright and more diffuse (ie. each hit of the cymbal blends into the next more)

Snare

compressed snare vs uncompressed

To make snare drum stand out more in mix, try sidechain compressing the OH with the snare (ie. compressing the OH based upon the snare)

Toms

If possible, tune the toms to be within the key of the song. Ideally, either make them a root or a 5th. At the very least, they should be a note that is within the scale of the song's key.

of course, make sure the tom is still tuned within the tom's ideal tuning range.

You can either compress each individual tom (giving you more control of each one's sound), or you can compress the Tom bus, giving them a more cohesive sound.

4:1 ratio, with a slow attack, and a release setting that blends musically with the rest of your mix is a good place to start.

Kick

Compression can be used to emphasize the difference between the low and high velocity kick hits.

Because of the nature of kick (as compared to snare), the sound takes a little time to build up after the drum is initially struck, but it dies off more quickly.

Overheads

Room microphones can be used as the connective tissue or the glue of a drum kit. This approach to using the room microphones greatly benefits from a lot of gain reduction— somewhere between 6-10dB.

this heavily compression thickens the overall drum sound.
use a slow enough attack time so that the transients are unaffected by the compressor
have the release set timed to the track.
- If you want the room tone or natural reverb to be emphasized more, use a faster release time.
use a high ratio of somewhere between 6:1 to 10:1

Experiment with saturation on overheads

compression that releases too fast may make your cymbals distort

Have OHs be more mono during verse (try 25-30% L/R), and more stereo during chorus (try 60-65% L/R)