How do you guys treat/mix OH & Room?

It really depends, for stuff that I do if the drummer is wanting a more modern up front sound it's probably going to be high passed at 200-400hz. Sometimes what I do it roll off the highs of the mono room mic at the point I rolled off the lows in the overheads, balance the OH and Room until I get a general kit sound and bring up the close mics to augment it. Almost always sounds cool solo'd but once the guitars and vocals come in it's too distant.

This begins with overheads themselves. I use the Gefell M930 which is large diaphragm, so I immediately get more mids and lows than most that use SDCs. These mics also tend to have a little midrange honk too. My room has a little less highs due to the absorption panels but the lows are pretty contained with a lot of basstrapping.

That being said, I generally record through 1272's or SSL9K preamps to the DAW. I always compress with 1176's with medium-fast attack and varying release, usually medium slow. This keeps the "swell" of the cymbals kinda controlled. I'll set the threshold right at the point where things get a little pumpy, but not too much. Just enough to bring the room tone up a little. This is done usually pre-EQ.

EQ usually consists of:

No low cut unless there is something really bad down there. I like the way the mics pick up the extreme low end. Lots of thump, not a lot of mud.

Low shelf cut at -4db or so at 800Hz down. Gets rid of a little of the boom and cleans up the area for bass.

Medium Q cut of -3 to -6db at 400ish Hz. Gets rid of the muddy resonance of the room and drum rumble.

Medium-narrow Q cut of -3 to -6db at 3Khz to 5Khz. Gets rid of the fizzy harmonics of the cymbals and cleans up the area for vocals and guitars.

High shelf boost of MAYBE 2 to 4db at 12khz. Sometimes I use the boost for darker cymbals like K's. Something modern and bright like AAX or A customs usually don't need it.


So that's what gets me my sound and what I think works best in my room. I compress the cymbals separately from the drum bus so I can control the amount of room tone independently from the close mics.

I also like to mix cymbals a lot louder than most people.  If they sound good, then they tend to add to the high end so I can use less boost on other instruments.  Strange but it works.  I feel that the cymbal sounds that most people get really suck and are only a faint shadow of what they were intended to sound like.  Cymbals are a very complex sound, probably more so than the drums themselves, and I really love complex shimmering that they make. 

As for rooms, I don't really care for the "modern" room sound.  It tends to make things sound boxy or overly sparse.  I typically record rooms because sometimes I use them for a little midrange definition on the drums.

rooms:
Oktava MK219s 
Similar EQ as the overheads to make them fit together.  Usually a little high cut instead of boost.  These are pretty smooth mics so I usually don't have problems with the top end.

Maybe some compression, maybe not.  Usually not.

Mixed in pretty low, just to the point where I hear a little more mids.  I usually parallel compress the drums which gives me more mids that I typically want, so it's a toss up if I'll use the rooms or not.