Let me try to add my 0.2 cent here - I believe you are aware there is no "works right away" solution on this, but maybe you can improve your result by following some of below hints.
Now, let me try to find some words to explain what we are talking about here:
When recording a bassdrum, the common first result will sound like "Bhhoom", while we are aiming to record something that would sound like "Thud!" - which cuts thru mixes much better.
So, it's that "smack" sound we'd like to catch - catching lots and lots of bass should not be the problem with your mic - but where is the "smack"?
Search it here:
IMO, the "smack" is happening right where the batter hits the skin - and I have seen pro engineers place a second mic (mostly SM57) outside of the bassdrum, close to the batter to catch that.
If you continue with one mic, placement is crucial - I stopped placing the Bassdrum mic inside the BD long ago - placing it outside and close to the resonating skin gives better results - the resonating skin also creates a little "smack" when not tuned too high - I tend to tune it down as low as possible.
Don't place the mic in the center of the bassdrum skin to avoid frequency confusion (that's a good tip when micing amps as well - never go for the center).
A harder/flat batter will have a little more "smack" than a soft round one, too.
After recording, here are a few EQ & Comp tips:
Lets face it, people listen on devices hardly capable of playing back frequencies below 200Hz these days. I have met pro engineers who made sure their kick was noticeable between 400-500Hz to make sure it still kicks when listened on laptop speakers (yuk!).
Placing a notch filter somewhere between 160 - 80Hz will change the sound from "Bhhoom" to "Bomm", which is a step ahead.
The "smack" is much higher, frequency wise - I'd look for it above 1100Hz, so be carefull with high-cuts!
Now, most bassdrum mics are not as sensitive on these higher frequencies - so you will either have to boost them by EQ or by multiband comp to get a good result.
When doing that, you will definetly boost some non-bassdrum signals coming in thru the mic as well... that's where it does get tricky.
Two approaches seem worth trying: You can just treat the BD signal as hinted at - you might go the other way too, high-cut the BD-mic and search for the "smack" on some other mics - it will definetly be on your overheads, so by combining those signals, one can also reach a nice result.
One problem which is not all obvious is the minimal timing differences between the mics - since the overheads are further away from the bassdrum than the bassdrum mic, the signal will reach them slightly later - which changes the sound & attack of your mix significantly!
I have made a good practise out of delaying all closely miced drums in the mix, so they play in time with the overheads. Think of delays between 4 - 14ms - and I'm not talking about an echo, but a real delay of the signal without any self feedback into the delay (100% effect output, 0% feedback). You will hardly hear the difference at first, it does do some magic to the dynamics tho :)
Last, lets not forget most professional mixes work with ducking/side-chaning nowadays -
that would be the job of your remixers, not yours on wikiloops.
The idea of side-chaning is to lower the volume of anything besides the bassdrum signal when a kick happens, so for a very short time, the kick can cut thru the mix. If configured right, you can reach the real "loudness war" results with this technique, obviously the human ear does not notice that trick in a bad way, but most love the full throttle "thud" and don't notice all other signals have been lowered for a few milliseconds.
Hope some of that may help on your quest - wouldn't say I've totally solved it myself ;)
