The way i have gotten around phasing problems is using 2 directional pencil condensors (oktava 012's) - then, instead of putting them somewhere over the crash and somewhere over the ride and "hoping" that they were at least somewhat in phase, i put them both over the center of the kick drum and point one at the ride, and one at the crash - if possible, get it so that their capsules are almost touching each other, or like 1/2 inch apart. At that point i realized my OH were probably way out of phase - they were way too bright and trebly in a really harsh way. Then i went into a big fancy studio for a session and watched the engineer - he took a long time getting phasing correct, and it sounded beautiful - great high end, but much "softer" than the sounds i had been getting. I used to have a horrible time recording overheads. I should also add that i often cut the super high frequencies and gently boost between 2k and 7k - i don't really need to hear a lot of sizzling 15k, much rather have a very "present" 6 or 7k. Everyone i played if for agrees, and they say stuff like "gosh it sounds really analong" or "it sounds really organic" or "really natural" - someone said it sounds like Albini drums, Surfer Rosa era Pixies or something. (I also used a room mic about 5 feet back, And another room mic in an adjacent room that gets a lot of bleed) - its by far my best drum sound to date. It sounded f-%$ing great - and the drummer was totally thrilled w/ the sound. I mixed a song this weekend, sort of a trashy Rockabilly John Spencer type song, and i absolutely OBLITERATED the overheads (and i think the room mic) with compession - it basically got that "huge" sound for me w/o having to add too much reverb (which can end up sounding either "fake" or "muddy". I am going to second the suggestion of compressing the overheads.
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