David Peters, who interned at Tarbox Road Studios while the Flaming Lips recorded Zaireeka and The Soft Bulletin, breaks down how engineer David Fridmann captured those massive, Bonham-style drum sounds with a minimal setup.
The kit sat in a reflective corner of the live room, where tile floor and plain walls bounced the drum sound off two surfaces and shot it forward. One mic overhead, one in front of the kick, then heavy compression to blow it all up. That was the whole chain.
The general principle Peters draws out is about committing to the room at the recording stage rather than patching things up later with reverb. Backing an instrument away from the mic places it in space naturally; moving it closer brings it forward. Simple mic placement decisions can do, what plugins often can't convincingly replicate after recording.