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I'm a drummer using PT on an M-box. There are several good suggestions above.
I would add using two overheads and then putting a trigger on your kick and snare to record the MIDI data. You can then use a sample to "blend" the samples with the acoustic kick and snare you recorded. This method works well.
The suggestion to playback through a PA works great if the you have a smokin' PA with some big subs. It takes some big speakers to make a kick drum sound right. If you have the eighteens it works well. This is one trick used to make Tommy Lee sound so big on the Motley CDs.
Also, I would suggest recording your room channels one at a time. Play your left track through the PA and record it and then play your right track through the same speakers with the same mic in the same place and you'll greatly reduce any phasing or tuning problems. Move the mic around to find the sweet spot. A cheap condensor like the Octava MK-012 works well if you don't have nice mics and are on a budget. If you go for Octava's watch out for the counterfeit versions. Info is on the Octava website.
Hope it helps.
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That's a great idea for the MIDI! I'll keep that one on file!
I didn't know that Tommy Lee's drums were treated that way, either. I did hear once that Phil Rudd's drums had this technique applied to them, though I don't know which record(s).
As for the one-at-a-time room mic thing, how would this be different than panning the right channel right and the left channel left (coming out of the PA), and recording with an XY pair of condensers, to be panned right and left? Specifically, how would phasing be reduced (assuming what's coming from the PA is in phase, of course)?
Going one-at-a-time as you suggest, you'll end up with two very similar tracks (as far as room ambience is concerned). With an XY approach, you'll create slight differences in the two tracks, which to you I think means "phasing". To me, though, these slight differences translate into stereo spread and realism. What do you think?