I'm sure there are as many setups as there are drummers.
I sit so my knees are just under 90° & my thighs maybe 2" higher than level. That gives me my optimum pedal position. This, btw, is with my feet on the pedals. Distance to the ground is absolutely unimportant - distance to pedals is the one you need. Get this right before you even think about anything else. This is your entire balance & feel, too low you'll always feel like you're lifting your legs, too high & you'll be resting too much weight on them, even when static.
If after 10 minutes of getting the entire kit right this starts to feel uncomfortable… change the throne height, then move the whole kit to match.
Snare I have almost level - I play matched grip so I don't like it tilted sideways, but I have a very slight slope so the section nearest my body is about ½" lower than the far edge. The height I set so that on a hard rimshot [not side-stick, rimshot] my hands just hit my thighs. I find that makes for greater accuracy when a track needs constant rimshots. I never miss that way - there's nothing more embarrassing than 20 massive rimshots in a row in the big last chorus… then a small click as you hit just the rim;)
I do a similar thing with the toms - they're tilted to make rimshots easy & repeatable, without the embarrassing click. That gives another 'measure' for repeatable rimshots; the difference between clean strike & rimshot is probably less than an inch in terms of where my hand aims for, as opposed to the stick. It gives you an amount of 'push-through' for intensity.
My entire technique is based on being able to be delicate, then raise very high volume levels without breaking a sweat. Call me idle, I call it efficiency :P
Part of my setup for snare & toms is that if you take a ruler & place it over each drum, pointing in towards where my right knee is, then the lines all converge at a point about 2" above that knee & an inch in front.
That's where I put my mic - a very expensive omni - so it can pick up all the top skins evenly, & never get hit by a stick.
Hats & cymbals I place high enough that I can never accidentally hit them on an upstroke if I'm going a bit 'mental' in a wild section, except for the ride, which I keep low but further out, as that never gets belted like a crash. All cymbals I keep the felts tight so they don't swing around much - that way if you go for two quick crashes in a row without looking, the cymbal is always in the same place.
Everything relies on muscle memory, not looking for where it is.
 I don't know if there's an actual musical term for this 'push-through' but I would liken it to the part in any kung fu movie where the old master tells the student. "Don't aim to hit him in the face, aim to hit him two inches behind his face".
It's a volume-gaining technique that requires no more effort than playing quietly.
 This is a mic technique I've used for 30 years. I worked it out painstakingly in the studio in the 90s, when I would spend maybe 80 hours a week in the studio. It also works live, up to about a 3,000-seater so long as you don't push it through the on-stage monitors. I've never tried it in anywhere bigger.
It does rely on a good omni. I used to use a B&K 4006 but I later discovered a tiny lav mic which sounds almost identical, the DPA 4060 [DPA is the new name for Brüel & Kjær, it's the same company] which is easier to put where it can't get hit & is a 'mere' £450, rather than the £2,500 or so the B&K cost.