Actually, I always found it to be the oposite. Get the best room sound you can from the space you're in, then expand on it. If the room itself has some weird modal properties that are difficult to get rid of then I'd dry it up all the way, but it almost seems counterintuitive to go all the way in one direction just to end up in the oposite one. If your sound is completely dry, then you need to add a LOT of fake room. If it's almost there you'll only need to blend in a little, it will be far less noticeable.
Since we're in High End I'll go ahead and say the Bricasti M7 will pretty much kill that job. It's the best tool I've found for faking a room by far. Another good trick is just taking a single room mic (lets not let phase become too much of an issue here), darkening it up a bit and then limiting the living hell out of it to pull as much of the room up as possible. Also, think a lot about directionality and eq when you're setting up a mic. While a nice, bright, close cymbal sound may work well on its own, it's not going to give the listener much of an idea of space. Maybe turn down the treble on everything that's not the focus of the kit (usually kick and snare. Yes kick drums need treble.). Throw a little reverb on what you've got and you can get a pretty damn convincing room sound happening.