Some very good ideas to try out have been suggested in this thread I think.
One more thought: I pretty much always use a mono room mic (for me it's rather a front-of-kick mic though) as a kind of live parallel compression track.
Compressing the living daylights out of it (1176-type on 'All-in' is nice), EQ to taste if necessary and then put that just underneath the drum bus. Instead of feeding the individual drum tracks into a Compressor bus like you would do in the mix you rather set the balance by placing the mic in the room. It's a much more visceral and exciting method that the 'lab coat' mix approach where you fret over tiny fader adjustements but of course you might as well combine both compression methods and add even more on the main drum bus, etc
You don't have to use that track all the time, maybe just a tiny bit of it in general and then you might bring it out to create excitement in choruses or something.
__________________ 'Ever since the Supreme Court overturned the Snare Act, it has been legal to use any mic you like on snare.' - joeq http://www.doorknocker.ch/