Just throwing a different approach out there - for years I took the advice Andy posted on here years ago where essentially you're trying to get rid of everything that isn't cymbals (HPF quite high, possibly limit to quieten the snare etc). While there's nothing wrong with that approach, I MUCH prefer trying to build the drum sound out of the overheads.
When I'm mixing I'll start with just the OH tracks and I'll try and make them sound as good as possible, as if they were the only drum mics I was allowed to use. Usually just a few cuts to remove muddiness or harsh sounds and maybe I'll add some body. I also tend to HPF but not anywhere near as high as a lot of people here do - somewhere between 100-200hz, and what I'll do is bring in the kick close mic and then sweep the filter so the ilow end sounds solid. The filter will affect the phase so just make sure it's in a nice sounding place. Sometimes I'll use a little bit of compression to level out the volume of each drum, the playing, or erratic strong cymbal hits, if needed. I don't usually compress these too hard in terms of amount reduced but sometimes a fast attack's needed to contain loud/harsh sounds
Mixing like this means when you bring close mics in, they'll compliment the sound and they'll all work more coherently. if you bring the overheads in after the close mics, you're always fighting to make them sound good and usually they'll make the close mics sound weird.