Thomas Juth applies the Sonnox Oxford TransMod plugin to overhead mics to pull back transients and let the natural room sound come forward, welcoming bleed from the band rather than fighting it.
Juth dials transients down to around -24dB first to hear the full effect, then settles at -3.7dB while adding 3dB of sustain, giving the overheads more depth and air without losing definition.
The broader point is that bleed on overheads isn't a problem to fix, but rather an acoustic resource. Shaping transients this way lets the room breathe into the drum mix, adding a live, ambient quality that a close-mic'd track alone can't deliver.