first of all everyone seems to only talk about mic placements, well ok there are a few and then some more techniques to use what you got from your great placement and all but i fear that some very crucial factors are overlooked .
The first thing that will take energy away from the kick is the floor underneath it, flooring has so much to do with adjacent instruments producing bass frequencies affecting sustain and and massive -ness :P
So get the hardest floor possible and the most massive, if you have to use a carpet for the kick not to roll use the thinnest possible or find another way to stabilize it.
The end result if everything is right is a truly magnified kick sound and fully energetic.
Bass frequencies can be killed in a bad room, i wont say a lot but the bass must be present at the 90% of the room and it has to be tight, that's the right word, tight.
Another bass killer, you get the insane kick sound then all of a sudden you get the overhead mics in the mix , boom, bass gone.You lose one of your friends the room mic.
T U N E D drumset, Can we please find a drummer who can actually tune a nice kick-snare? listen to records man , understand that damn "tu tu - ka"
If YOU tune the drums the membrane must help the drummer play in terms of stick/beater feedback.
If you really want to talk about placement ill tell you my favorite, go 1-1.+ meters away from the kick put a condenser at tom height and angle it at 45degrees towards the kick.
Guys who have all that and a very good signal flow aaand too much free time , do record samples and make programs like drumagog.
As a final tip if you want isolation to your drum kick you can ckeck out the tunnel technique, a known one and easy , you simply put a chair with rags in front of the kick and the mic underneath so it doesn't get the OH spill.
If you have found a nice way to pick up the beater sound, use a subkick!
And now to the production stuff, im not gonna tell you what buttons i press and turn cause everyone has his own ways and w/e around a console/box , what im going to tell you though is the word context. A Kick drum or nearly every instrument can sound good/bad only by the context. Listen to records , don't you feel that zeppelin's kick drum is more massive than a new age rock band? though i ve ran many checks and have found it really less bass-y than the new ones BUT context, makes it shine.
So get your recordings the best you can, and then steer the production/mix to the way it's supposed to go, if you try and make everything mooore bass-ier the kick might not cut it at the end, if you try to mix using other elements you can create much better mixes , try energy perception placement depth movement.