I'm also pretty sure the folks who sampled these drums used proper techniques and spacing to avoid too much in the way of real phase interaction problems. These are well-paid professional engineers in good-if-not-great-sounding rooms using the right mics in the right place to get real good sounds that can work in a number of different ways. You usually don't really get to move the mics. You can sometimes swap out drums, but you don't get any control of the recording chain itself. By the time you're mixing, you've basically just got a set of drum tracks that were recorded by somebody else and you do with them what you can. And frankly, they should be pretty close to ready right out of the box.
Assuming that you can't retrack, it kind of doesn't matter whether it was AddictiveDrums or like the band went to a decent studio to track drums. The problem for me trying to give advice here is that I can't hear their tracks, nor the mix they're meant to sit in. You have to listen to what you've got and make your decisions about what direction you're going to take it and then work it out from there.
But actually there ARE a couple extra tricks you get with this software. mjbphoto's hint with the bleed controls is a good one. I've been known at times to render the tracks to audio in two separate passes - one without cymbals (not OH's, the drums themselves, mute the MIDI), and another that's only cymbals. Here you can not only change the relative level of the bleed, but also process (EQ, compress...) independently.
But do make sure it's not actually a performance issue. Maybe you just need to adjust the velocities of the various hits relative to one another. Like, if the cymbals aren't loud enough without too much tom bleed, you're either not hitting the cymbal hard enough, or hitting the tom too hard. Maybe?
But yeah, depends what you're trying to do. If you're compressing and gating and EQing each individual close mic to get that hyperreal larger than life thing happening, then maybe you're better off without any bleed. If you're looking for real natural "kit in a room" kind of sound, it's usually a lot better to build around the overheads, assuming they were placed with that intent and the drummer mixed itself reasonably well.