Nice stuff man, really lovin the toms. I can also chip in and say I use the CAD tour Pro 7 piece mic set. They're prolly the best drum mic set for the money despite the sh*tty kick drum.
As for finding a good kick sound, it's a problem most if not all new mixing engineers face especially with the horrid kick mic from CAD. But you make with what you got.
Like others say, first and foremost is the mic placement, I can recall a rumor that said Lars Ulrich and the studio spent days trying to get the "perfect" kick drum sound for a certain album by getting the right mic placement. After the mic is setting your headroom, the staple method is to record drums hot as possible without clipping, but in the case of the CAD kick drum mic, it might be better to turn the gain down just a tad bit to avoid catching too much low end. Unless you place the mic a few inches away from the batter head/mic hole.
In the DAW the next step is to EQ, this is fairly easy if you've got a good ear and a decent playback device like some studio headphones or studio monitors so you can catch and cut that unnecessary low end. A good place to start is to put a slight high pass around 50 hz(In the case of the CAD kick drum mic) and dip at around 250 hz and a bump at around 1.5k hz. This is pretty standard preset to start with EQing kick drums as they control the more vital and common frequency hotspots in a kick drum. But, your kick might be slightly different so mess around and judge with your ears.
After that is the hard part, compression, an engineer's best friend, but also worst enemy, pretty much is the best example of a double edged sword. In terms of drums, compression can really muddy your mix or make it sound just right. Most people just avoid it overall and slap a trigger on there, but IMO, in an ideal situation, that just takes the fun and learning experience out of the equation. I play a lot of rock/hard rock type music so I like to have a lot of punch cut through. For me, I usually set my attack to around 50ms, a sorta slow attack but just enough to set levels more evenly without forcing out too much dynamics and squashing the kick too much. As for release, I set it fairly quick, around 20ms or less. But again, that's my preference for my style of music. Should this have been an orchestral rock like your cover, I would have liked more thump than slap so maybe a quicker attack and a tad slower release. Again, mess around and judge with what your ears tell you to find the sweet spot. Next I set the threshold to about maybe -20db or more depending on how heavy the music is or how my kick sample is quality-wise. In your case I would set it a little less drastic, around -15db just so you have more dynamic and doesn't take away from the actual music itself.
That's pretty much the basics of it, various more experienced engineers use different methods like limiters, gates, band compressors, duplicate tracks, but that is something you will need to explore yourself to find which suits you and your music better. Personally I've found that a band compressor such as the SSL 4 band compressor from waves with the Chris Alge preset and tweaks to my liking has benefited my mixes as of recent. But for more dynamic and less heavy music styles, that may just ruin the mood and dynamics rather than help unless you really have a bad kick sample or it's very buried in the mix.
Use the internet to your advantage, there are various threads on this forum that address good a decent kick drum without going to such drastic measures. Youtube is also a very good source for learning techniques with mixing kick drums. But ultimately is up to how you can accumulate different techniques to suit your situation and style of music.
Good luck and happy mixing,
Ninja_Drummer
And after seeing it? I'm writing a new song, called; "Kate Beckensale's Hiney..."
