Chris Lord-Alge explains his approach to drum reverb: never send the direct close mics to reverb, only the indirect signals like room mics, drum samples, snare bottom, and toms. The reasoning is about preserving punch while extending ambience rather than creating reverb from the raw transient of a dry kick or snare.
Putting reverb on a dry kick or snare drags all the EQ and impact you shaped into that reverb tail, which muddies the result. Sending the room or ambient mics instead lets the reverb breathe naturally without fighting the direct sound.
CLA sets his two outboard reverbs to one second with no pre-delay, then blends them in gradually with aux returns. The specific reverb unit matters less than the concept: find a room-type reverb, set it around one second, and feather it in against the indirect signals only.