Some things I find helpful, and aren't too expensive:
Good heads on the kick drum. Aquarian Superkick, Remo Powerstroke 3 and Evans EMAD are all pretty high tech, and get the drum sounding pretty good in the room, to begin with. You've you've got something less on the drum (Pinstripe, Black Dot, Hydraulic), you'll be surprised at what modern heads can do for you.
(of course, the joke goes: a great drum with a Superkick on it sounds like exactly that: a Superkick.)
Tuning is important. Sometimes, having the kick tuned a little higher than I think it should be records better. I think sometimes, you get a kick sound that moves a lot of air when you're in the room with it, but doesn't translate when recorded.
Try the trick of using a speaker backwards, in front of the kick, as a mic to catch some extra low end. Search here for "DIY subkick." Not terribly useful for a promary mic on the kick, but great for beefing up something else.
Try a distant mic...something down the hall. Maybe squashed and EQd heavily.
Try parallel subgroup compression to get both attack and body into the sound.
The pedal crashes should sound like the door on a '71 Eldorado being slammed shut. On a giant piece of sheet metal.
Try the heaviest hat you can find on the bottom (like a Rude or an old Z), with a broken top cymbal - not just an edgewise crack, but broken such that it's got loose arcs of metal around the edge - still attached and flopping around. And some loose ball bearings inside.
Or stack up a couple of broken cymbals, and whack them.
