Hey! So generally not, because long reverbs tend to mess with drum transients. Now it's not always the case, Seventh heaven is pretty smooth. If you want to use halls on drums, try to avoid having too much bass in the reverb and use a reverb that doesn't create a ''rattle'' echo with the transients. In order to make the drums more distant, the best solution would be to reduce transients and attack (tape saturation can help) and making sure that the snare has a nice long tails, Overheads can too, but in that case I would recommend using a limiter on the overheads to kill the snare transients and mostly use it as a ''cymbal mic'', in which case the OH could also take more hall reverb. Basically I would try to avoid putting the hall on the close mics too much, but use other techniques to darken, smoothen the attack of the close mics. Just because hall reverbs on sharp transients generally don't sound too good. Of course there are a hundred ways to mix drums but my fav mostly seems to be having more tail on the snare and having the rest sound more like it's in a room.

@ Thank you. Sorry for the late reply as I had to try everything to understand what you said 😅. So, just to summarise, the snare transients should cut through and the snare should have a long tail to avoid frequency masking. (Using a plate reverb in parallel and blending the original with the parallel should help avoid the masking and get the snare to cut through.. with a HPF on the reverb). The body of the drums (the shells mainly) in the mix should be mostly from the room mics with the close mics adding texture. The kick should be treated as its own entity. And for compression.. Short attack (let's say 10ms) with medium release (50-60 ms) should help with the sustain. I mostly used sample libraries which are designed more for conventional metal/rock than symphonic stuff but I guess the concepts should remain the same.