Basically I like to use BFD3, but the dynamic range they have is just a little too much. For now, I've been using their built in compressor/limiter at the default 50% soft/hard setting. Works pretty well, but can get a little splatty on real heavy hits. Just wondering if there is anything else I ought to try.

There's many. What do you already have? Try using parallel compression with them.
SONAR's PC comps should work just fine as well.
I like Plugin Alliance's Vertigo VCS-2 along with a limiter (either Waves L1, Pro-L, Limiter #6) on my drum buss.

Get these too- free versions available
http://www.tokyodawn.net/.r-feedback-compressor-2/
http://www.tokyodawn.net/...pressor-now-available/

I have everything in Sonar Platinum, of course. I also have Native Instrument's VC-2A, VC-160, VC-76, Vari Comp, and Solid Comp. Then I have Waves' C1, C4, H-Comp and V-Comp. For Limiters I have IK Stealth Limiter, Waves L1, and the Concrete Limiter.
 
I'm not good at this stuff, as I've noted many times, which is why I'm looking for opinions on simple solutions to give a try to.

I may be far outside mainstream thinking on this, but I rarely compress drum busses. I like 'em punchy, roomy and natural-sounding. If I do use dynamics processing on drums or percussion, it'll be on individual mikes to tame the occasional wild peak, fatten a kick, or to go for Ringo-style ride cymbal washes.
 
For peak limiting, it'll be Pro-L; for general squashing, LoudMax. For gentle leveling or envelope manipulation, the incredibly versatile Pro-C works for just about anything.
 
If you don't already have LoudMax in your arsenal, you owe it to yourself to pick up this impressive little freebie. The EDM crowd loves it as a sledgehammer, but it's surprisingly effective even if your RMS meter uses double-digits.
 

If you're looking for an absolutely fantastic drum bus (or any bus) compressor, or in fact a utilitarian compressor that works great on just about anything, I'm currently recommending Waves H-Comp. I'd kind of overlooked it a little before but recently it's shot up in my estimation. It's just one of those great sounding, all purpose compressors that you can tweak to sound fantastic on almost anything. But apart from that, it has some really useful features:
 
1) 4 modes of saturation character if you're looking for a little extra grit
2) A "punch" knob which allows you to dial in how much of the transients you want to let through, regardless of the attack setting (drum heaven)
3) A bpm-syncable release dial with which you can set release times to a musical note value. Again, drum and master bus heaven. Of course you don't have to lock it into a note value precisely, but you can use the bpm dial to hone it into a musical value that you're aiming for and then switch it back to ms to tweak it further if the bpm setting doesn't sound quite "there." 
 
Of course if you buy the H-series package you also get H-Delay which is one of the most useful delay plugins out there. 
 
EDIT: I see you already have H-Comp - well, fire it up and give it another try!

Thanks for the Loudmax link. I agree with your view on drums. I want to have them exist in the universe somewhere. Probably cuz there was nothing between me and the guy behind me playing the drums.

I really like to use the Waves V-Comp because I'm lazy and they have a preset for every kit piece. I can quickly set up the kit and then fine tune each track as needed. 

bitflipper
I may be far outside mainstream thinking on this, but I rarely compress drum busses. I like 'em punchy, roomy and natural-sounding. If I do use dynamics processing on drums or percussion, it'll be on individual mikes to tame the occasional wild peak, fatten a kick, or to go for Ringo-style ride cymbal washes.
 
For peak limiting, it'll be Pro-L; for general squashing, LoudMax. For gentle leveling or envelope manipulation, the incredibly versatile Pro-C works for just about anything.
 
If you don't already have LoudMax in your arsenal, you owe it to yourself to pick up this impressive little freebie. The EDM crowd loves it as a sledgehammer, but it's surprisingly effective even if your RMS meter uses double-digits.
 

 
The reason I have some compression on them is that BFD3 just goes too nuts with the levels. They really did a good job capturing the dynamic range of a kit which is, well, a lot. I built a kit starting with their DW kit. I did some tweaking on it including lowering the level of all the drums by 4 dB on the internal mixer to give them some more headroom. However, big hits on the kicks in particular can still go well over 0dBFS. Their internal limiter/compressor then kicks in and deals with that.
 
With that setup, I find it is a pleasing combination of the ability to use the range of the drums, yet not have the quiet stuff be too quiet. However with their internal limiter and compressor it does mean the REALLY big hits can get a little splatty.
 
I know I can always reduce the velocity going in, but one of the things I like about the kit is that it does capture a ton of velocity levels for the drums and so gives you the nice timbre range they have as they are hit harder and softer.
 
So I figure maybe I'll break out the bass drums (maybe the snare too) to a separate send and look at using a different compressor on them.

I just make a drum sub and call it NY CMP for New York Compression...I put the IK Multimedia White Compressor on it set to hard compression (it only has two knobs on it) I then boost just the high end and the low end on the EQ.
I send everything drums to that sub while also sending the unaffected drums to the master bus. 
 
I blend the volumes of both compressed and uncompressed signals together until it sounds nice. It's an old technique, but it works pretty well for me. Cymbals in general don't respond to compression well so I will usually bypass them....

If by mainstream you mean most if not all mix engineers, then you are indeed on another planetary system entirely. Here on planet Earth, for better or worse, it's a compression filled world. Going in, parallel, coming out, bussed...and for your sake I won't even mention "compressor stacking".

Oh wait, I just did.