Do the cymbals sound good in the room without microphones?
If not do what you can to make the kit sound better before micing. I have always found that the high end of the spectrum is the easiest to control/tame. If you were having trouble with lowend I would see that as a much greater challenge. Some proper placed treatments such as a cloud above the kit really helps. I recorded drums in a pretty bad room one time and we completely surrounded the kit with moving blankets, the cymbals sounded really decent and to be honest its an amazing way to keep a lot of cymbal sound in the room mics. In a proper room i wouldnt bother. Another way is if you like the sound your getting with no overheads you could still track overheads and bring them up in the mix just barely enough to get yourself some proper imaging of the kit. I can't say I've ever miced up a kit and thought it would be better without overheads, getting a good drum sound through the overheads is the first step for me. How close are the overheads to the cymbals? I find there is a spot right between to close and too far, i start with the mics somewhat close to the cymbals (maybe a foot or 2 above) and then pull them back if i find the cymbals sound "offensive/direct". Try different mics, try foam windscreens see if the take the high end edge off. I am more prone to experimenting with room mics and micing techniques (glyn johns etc.) when im not recording metal, unfortunately i tend get into a habit of using common micing approaches when i record metal. No rules, if you like the sound your getting go for it.
Hope this helps.
