Welcome, U've just realized 1 of the common misconceptions in sound recording.

Overhead mics r just what the name implies:

Mics over the drummer's head, NOT cymbal mics.

2gether with the room mics they paint the kit's sound. Close mics r there 4 the attack and balance control, but the color is in the OH.

4 a good sounding kit U'll need a good room, a well tuned kit and good drummer with good BALANCE - all 3 are not trivial 2 come by.

Unfortunately, most drummers I encounter lately play out of time, with horrendous sounding kits, and bash the cymbals and HH like there's no 2morrow.

This is typical with young players with the "drum machine" approach: "...if there r individual tracks than balance can b achieved electronically..."

Well, NOT.

Rooms are "on budget" i.e. small, with low ceilings and bad acoustics.

Mics r poorly placed, with little or no attention 2 the overall sound.

Placing the mics in good relation 2 the close mics is not easy, but that's what separates the sheep from the goats.

Try spaced omnis or cardioids, pointing inwards or outwards, coincident pairs, or even 1 mono mic carefully placed.YMMV, with room, kit player and material.

Don't fight "the leakage": It's ur overall sound, use it 2 ur advantage.

CONTROL THE DRUMMER.

TUNE THE KIT.

USE STUDIO CYMBALS, NOT LIVE 1S.

Experiment with kit and mic placement.

Use good mics and pres.

Use ur ears.

Peace,

Zooot