to add a bit of air to the drum overheads, mix down with a another pair of room mics located 1-2 feet away from the existing overheads or, try using larger diaphragm overhead mics spaced a bit wider than the Samson's you are currently using. The larger sized mics might capture a bit more of the atmosphere, and give your mix space if you don't have additional pres to use for the room mics.
Also, try this little trick: apply a short - a very, very short delay with a quick decay - to the overhead mics. Add enough so that the decay is lengthened a bit to add the illusion of space. If you are adding soft knee compression to your cymbals before mixing it down into the main drums signal, apply the compression BEFORE and AFTER the delay to see what suits your ear better.
Bass drum: to capture the bass drum end, try positioning the bass mic inside the kick and EQ it to accentuate the low end. if you can, position another mic further out the kick under a draped blanket, preferably wool or something to dampen and focus the sound more around the mic. what is your kick drum made out of birch? maple? my brother and I play drums and we both prefer maple for our kick and snare drums (external brackets only, no shell perforations for a more focused sound), and use birch for our toms. i find that this combination works well live and in the studio because the drums cut better as a result of the resonant quality of the wood used. also, try some drum pads and changing your kick drum mallets. I like danmar double metal kick pads in combination with small mallets on my DW 9002 pedals. the smaller size of the mallets with a soft head combined with the fast attack of the 9002 works really well in efficiently transfering my kicks into the drum and projecting sound well.
hope this helps!
