Sounds like you know what you're doing then, Mickey.
In all honesty, I do not really find the Waves plug-ins to be the greatest there is, when it comes to mixing multi-track recordings. They lack personality, and often I find them to give me a bland and cold end result.
With that said, I do use several Waves plug-ins on a daily basis at work, but for other things, and for that purpose they are solid.
Anyway, with mixing ITB I feel the UAD-1 plug-ins pretty much made the biggest difference (after better microphones, monitors and AD/DA converters) equipment-wise. I think a lot of people here would agree (although there are other companies making great stuff as well, the URS plug-ins for instance).
If your drums are missing that mid-range crack and presence, maybe they are not "full-range" enough? I sometimes layer my drums, using several sounds to achieve the impact I want. For instance, if I've got an electronic bass drum I can mix in a hard hitting clap sound beneath it to get that whack. With acoustic drums I think it starts with the drums and the way they are set up.
Back in the days, some people inserted a Pultec to the drum track and cranked up the high end like nobody's business, to get sheen and that special treble for days.
Today you can mimic this using the UAD-1 Pultec plug-in. Which basically means not much has changed in terms of tricks. (I'd rather use the real deal though but what can you do)
Some engineers used to insert an SPL Transient Designer onto their drum tracks to get more snap and crack.
Today you can mimic this using the SPL Transient Designer plug-in or equivalents.
IMHO a drum kit in complete mono except for a very wide and heavily crushed (think 1176 "all-buttons-in", that old Shure limiter or a Distressor on the Nuke setting) stereo ambient/distant room mic setup can sound way wider and more stereo than any other way of trying to position and stereo process individual drum tracks.
Likewise, a very low and rich bass sound in mono that is being dubbed by a gnarly, slightly distorted/overdriven mid-rangey bass sound two octaves higher which is being fed through, say, a Roland Dimension D (ah, yes there IS also a plug-in version for this) or just recorded twice and placed dead L and R could make the fundament of the mix sound wider and bigger than any other over-stuffed arrangement of various sources.
Just two more detailed and practical examples regarding them ninja mixing tricks for the record, sorry for the long post.