It's very common to use both compression on the individual drum channels together with parallel compression. I compress kick and snare with slow (30ms or so) attack and fast-ish release (100-150ms), 4:1 ratio. That gets some attack out of them. Usually I don't compress toms, especially not programmed ones. Overheads I compress with fast attack and release, but with a mix knob at about 50% (that's one kind of parallel compression). That tames some of the snare pokeyness and increases cymbal sustain, but the original signal is blended in so it doesn't pump too much. Room mics I do pretty much the same as OH but more agressive, which makes the room decay sound bigger and longer. Then I use two parallel compression busses. One for sustain, with fast attack/release, high ratio, working very hard and preferrably distorting a little bit if it's an analogue style plugin. I send mostly kick/snare/toms to it, but also a bit of rooms and a tiny bit of OH. I blend it in to add fatness and "glue" to the kit, which helps it stand out in a dense mix. Then one for attack. Similar settings as the kick/snare, but higher ratio and maybe some distortion. I send kick, snare, and toms to it. This makes it easier to quickly adjust the amount of attack depending on the section in the song. There are many other ways to go about it.