greg's given you some great advice. i gate my tom close mics, and while the settings differ from song to song, greg's detailed the "starting points" quite well. setting gates is a bit of an art and takes some practice. it's a lot like compression--easy to do poorly.
there's only two things i want to add. the first thing is to make sure the toms sound like that in the first place. so make sure you've got the right drum for the job and get them tuned deep or punchy or whatever. you can't get a bonzo floor tom sound out of a 14in tom tuned tight.
make sure they resonate well (sing) within the room--this is where basstrapping and acoustic treatment come into play big time. the math is easy; bad sounding room=bad sounding drums. then get the mics into place where they capture the sound AND where they're in phase with the overheads.....
....which brings me to number two: make sure your drum mics are in phase. nothing kills a quality drum sound than destructive comb filtering. again, room treatment and basstrapping are crucial here, as is "Harvey's big mic thread" in the mic forum.
simply put, the more mics you put on the drums, the quicker and easier for your sound to go to shit. that's why people recommend that novices start with the "recorderman" technique of 2 overheads, kick and maybe snare. the fewer mics, the less you need to employ the tape measure.....and the better chances you'll turn out a "decent" drum track. but with some proper placement, room treatment and tuning skills, there's no reason you can't get huge sounding toms for those hairband covers.
anyway....
cheers,
wade