I always create a "master drum buss", and then another 'drum crush buss'. drum crush is what i call the buss where I parallel compress.
for each individual drum track, I use the track output to route them to the master drum buss.
I also add a post fader send on each track to 'send' to the drum crush buss
I set the output for the drum crush buss to go to the master drum buss. this is so once I blend in the parallel compressed signal, I can control the level of everything with just the master drum buss fader.
the master drum bus has very light compression just to help glue the kit together. maybe 3db max of gain reduction with a ratio between 2:1 and 4:1 with a pretty slow attack(30 to 50 ms) to keep the punch.
the drum crush buss has pretty radical compression. usually 10-12 db gain reduction, at minimum 10:1 ratio, and a fast attack to kill transients and 'round out' the drum and bring its tone out.
when I blend with the mostly dry signal it starts to make the drums sound fuller and with more depth.
I dont always 'send' the overhead or room mic tracks to the parallel drum crush buss because the cymbals sometimes get too splooshy and unnatural sounding with heavy compression. sometimes it works fine with overheads sent as well, but other times not