I didn't read the manual. I used to read the manuals, but that mindset seemed to dry up a long time ago. I'd probably know some more of it's secrets if I did. But then, I knew something the tech support guy didn't, and he probably had to read the menu.

Kamikaze
The Transform tool can be used to balance your playing. It's not well known (even an XLN  support guy didn't know you could do it, and found out from me), but you can drag your MIDI from PRV into the Transform section. There you can adjust the velocity balance of each element, then drag it back into the PRV.
 

Wow! This is a mind-blowing easter egg. Great tip! I've read the entire manual. You'd think this powerful feature would be mentioned. But, hey, who am I... just a customer they're trying to sell to. ;)
 

a6strng
I've also went as far as opening up the piano roll and found the exact note (cymbal hit) and clicked on the midi note to raise its velocity. I do like the answer by Kamikaze. I'll have to try that!

Hey, thanks. I've done this as well. Just can't get where I want to go... 

ooblecaboodle
Use the overheads as your "core" sound. It's what gives you the bulk of everything you need. The "kit should be played" (or programmed, obviously) in a way that every element is balanced - just like when you play a piano or guitar, you try and male all the notes work together.
 
You can compress the overheads as you like, fast or slow settings depending on whether you want fat sounds, or pop and punch.
 
Then, bring in each individual close mic as needed, in order to give definition and crispness to the sound.
Don't fear the bleed, bleed is what makes a kit sound like a kit, and not individual samples. The bassdrum on it's own can lack snap, but when the snare sizzles in response to it, it adds that high frequency snap. The toms resonate with each other and with the kick, to give a fuller low-end, and so on.
 
If you want to go down the more heavy metal kind of sound, where there's lot more separation between kit and cymbals (typically done by raising the cymbals and hats substantially higher than normal), then you could always use two instances of the plugin, one for the shells, and another for the cymbals.

 Thank you. I'm going back to square one and try this approach. I've seen vids on such 'top-down' drum mixing... This is my first effort with AD2, or any multi-track drums for that matter. Maybe this will be the key... 
 

I don't take ooblecaboodle  approach, but I do think that's the intention of XLN, and the way to get the most authentic sound out of AD2. Mine's kind of the opposite, with the overheads being just cymbals, and working from the close mics to get my sound, then bringing the bleed into the the overheads to add extra colour and texture. Either way the Kitpeice Select in the Edit page section of the AD2 seems much overlooked, but key to getting the most out of the Overheads. The Overheads and Room are basically two submixes. I find this area a little too simplistic, and would prefer being able to adjust the volumes, of say all the toms in one go here. Having to click on 18 different kitpieces to set the levels and get your 'Core sound' is a quite crude. I'd prefer this a sets of faders all visible at once. It would also help users not overlook it.  

Great stuff Kamikaze!!!
Thank you