Next Check the phase relationship between the kick and sub kick. Pull up just the kick and sub kick channels both panned to the center. With a phase plugin in the sub kick channel try switching the phase leave it in the position that produces the most low end energy. Repeat with the snare top and snare bottom.

Next I will work on EQ here are some general rules.
In the processing chain gate BEFORE you eq!
Sub-Kick- In general I drastically reduce frequencies bellow 20hz and above 125hz
Kick- Boosting 50-65hz gives you the fundamental, 2 to 5 k is where the beater attack is.
Snare top- 125hz to 250hz will warm/fatten up the snare 2 to 5k for the attack
Hat- high pass filter that reduces frequencies below 300hz
High tom- I usually find the lower resonating frequency by moving the filter in the 100 to 200hz range, attack is in the 2 to 5k range
Low Tom- low resonating frequency is in the 70 to 125hz range, attack in the 2 to 5k range
Overheads- I usually use a high pass filter reducing frequencies below 60hz, with a bell curve filter I reduce some of the frequencies in the 400hz range to reduce the boxy sound.
Room- as I usually don’t use a lot of room sound when I mix i usually use a high pass filter reducing the frequencies below 25hz.

Threshold- is the threshold/level at which compression kicks in. This lets you pick the db level for compression to start.

Ratio-the ratio of input to output. Ratio is usually displayed for example 4:1 or 4 to 1 would be for every 4db of input over the threshold setting the output only produces 1db of gain.

Attack time- Usually displayed in milliseconds. How fast the compressor reacts to input above the threshold.

Release time-Usually displayed in milliseconds, How fast the compressor returns to unity gain after the level goes below the threshold.

Make up gain-increases the level after compression. After the compression effects the material the overall level can be brought up.

With these concepts in mind there are many ways to approach compressing drums. One technique is to insert a compressor on the drum buss and compress the over all drum mix. If I employ this technique I usually am looking reduce some of the higher peaks of the drum kit. Most of the time I will only run the kick, snare, and toms into this type of configuration because I don’t want this to affect the attack or sustain of the cymbals. The ratio, attack and release time will vary some depending on how fast and percussive the material is. Here is a guide. To start you can set the ratio at around 4 to 1 with a fairly fast attack around 8 to 15ms and a fairly fast release time of 30 to 100ms. Be careful not to use too fast of an attack time (unless thats the sound you want) or you will loose transient information. Change the Threshold up and down until you get the sound of compression you are looking for.

Another technique Parallel compression also know as New York compression is very effective. The basic technique involves running an aux buss with heavy compression routed to the mix buss in parallel to the drum tracks unaffected sent to the mix buss or cloning the drum tracks and having one set of tracks running into the mix buss without effects and the other set of drum tracks with a compressor on a separate buss, both are then sent to the mix buss. This technique will give you the ability to mix the compressed drums in with the uncompressed drums, You can use high compression ratios and a low threshold to mix with the unaffected drums bringing up the lower level subtleties in the drum track without loosing the transients inherent when using fast attack times. Her are some other options you can try

Add low level compression on the unaffected mix to add more continuity. Another technique is to EQ the heavily compressed aux buss which will produce some interesting effects. Try the EQ before the compressor and then after the EQ in the effects chain.