To be honest, all of that is really up to you and the kind of ound you're after personally.
I generally do NOT use verb on the overheads - unless it's a ballad, I'll add a very tiny bit of verb just to help the cymbals have a little more "room" in the mix.
Typically, I compress everything a little bit.
I compress everything in the mix, individually at a 2:1 ratio.
This will probably sound strange, but I use 2:1 as if there is no compression on it.
so if you were at 1:1 (no compression), you would use 2:1
Since I'm starting with 2:1, if I wanted to achieve a 2:1 type of ratio, I have to compress at 4:1 (I hope this is making sense.)
But, I do not compress the kick while recording, because it will boost the cymbals and snare in the kick track if they are bleeding into the kick mic.
So, I'll wait until after I gate the kick track to compress it during mixdown.
Normally, I may or may not put verb on the toms, all depends on the song and the sound I'm after - and if I have even bothered to mic the toms, generally I just mic the kicks, snare, and a pair of overheads. I don't really feel the need to close mic the toms.....but I tend to be after a more organic drumsound than a lot of people...it's typically a big "rock" drumsound aka "John Bonham-ish" kind of sound.(Plus I use really large toms and they do not close mic very well.)
Also, aside from just overheads, you could try using Room mics to help fatten up the drumsound without actually having "effects" on them.
On my own stuff, I do use reverb on the snare - it's just a personal decision.
Also, if you can, make a "Kick Tunnel" in front of the kick, because that will save you a lot of headaches. These days if I'm recording something and have the extra tracks available, I'll trigger the kick drum for the attack, and then mic the kick in a kick tunnel for the tone/body of the drumsound.
Play around with the recordings, and see what you like - that is really the only way you will find out what you like. Try everything! That's the best advice I can give you.
Tim
