Well, I record my kit from a drum machine, and I split 'em up into mono kick, mono snare, mono hats, stereo toms and stereo overhead (crash & ride), plus, I'll record a special mono track if I have tambourines, side stick, cowbells, etc. I've been adding a pinch of 9000 Hz (.5 percent) to the crash and hats, as well as rolling off some of the low end below 80 Hz (as per Ed Rei), which doesn't do too badly, and I've never had a problem with hats, rides or crash overriding the snare. In fact, whether I process the snare in mono or stereo 'verb, it stays picked out -- I just didn't know if it was "natural" or not to have a stereo 'verb on a snare (and not mono-to-stereo, mind you; it's a mono signal being sent to a stereo bus, which means it keeps its mono position but is playing in a stereo field).
I've been sending the entire kit, except for the kick, to the same stereo bus with some room 'verb, to keep it uniform and keep it sounding like it's playing from the same locale. When I processed the snare in a mono 'verb, it was the same style 'verb as the stereo one, same mix, same feedback. And it doesn't really stand out as being all that different, except that you notice the snare's 'verb is only coming straight from center ... and when the whole kit is playing, it didn't really seem to matter, only when you get one of those hair band snare breaks where the snare kicks in, then the rest of the song goes. I guess that explains this post in the first place -- I could go either way, but I wanted to figure out the "right" way.
Bear in mind, until you guys set me straight, I was outputting everything from the drum machine IN STEREO, which meant stereo snare tracks, stereo kick tracks, etc. Sounded worse than you could imagine! Chorus on the overheads, you say? I never thought of that, but the more I think about it ...