To get that awesome "click" definition on the beater with a very controlled, yet full bass response recorded, I personally use (specifically) an old 13"-14" Remo Pinstripe head, loop some ductape sticky-side out onto the batter side of
the pinstripe head all around the outer edges and stick it dead center onto the bass drumhead batter side-to-batter-side so the beater(s) hit in the dead center of it and tune the bass drum waaaay down so that the head is just a "hair" away from being floppy.
Like Geet73 said, boost any 2-5k range to your liking but also pull any parametric mids down all the way dwon if you're running through a mixer with parametric EQ on each channel. Boost the or cut the bass EQ to your liking. I also place the mic about 3-4" from the beater on the beater side of the bass drum or place it inside the bass drum right behind the beater for more relative "isolation".
Play around with the miking position extensively and record test tracks to see how it sounds off the HDD to get exactly what you're looking for as miking from different distances from the head will give you a wide variety of sound to work with. I've tried the "click" patches but to me they just don't cover enough of the head to tame down the bass response of a bass drum enough for recording purposes but then again, I'm recording with a large 24" bass drum so this is particular to my situation although I've heard people using this method on smaller bass drum sizes with desired results.
The problem most of the time when recording trying to capture the right amount of beater definition is that you have to have the mic pretty close to the beater but by the time you get it close enough that the beater definition sounds great, the bass is overloading the mic forcing you to reduce your levels and you get more bass than definiton...which is why I use the "reverse drumhead patch" method because it really tames down that seemingly uncontrollable bass when miking that close to the head.
Below is a relative example of this method in practice on a 24" Ludwig maple bass drum on the clip titled Soul Exsanguination:
http://www.soundclick.com/bands/2/theanoymousmusicexplosionmusic.htm
Placement of the mic (Nady
DM80) was inside the bass drum closer to the front resonant head and just laying on the bottom of the bass drum pointed at the batter head. Of course, there's compression and other FX at work (harmonic exciter, bass maximizer, soft-knee compression and mastering limiter) here but I got exactly what I wanted for this clip.
