I don't have any hardware reverb units so I've had to figure out a way to use reverb plugins to give my artists some effects while tracking in Sonar.  The way I do it works but I was wondering how others do it. 

I use hardware generally, but when I don't I use a low latency reverb like breverb on a bus and send tracks to the bus. The breverb had no dry signal. I can adjust the amount of verb for each track relatively to the others using the sends. I can adjust total verb using the bus fader.

Well, it's early and I probably didn't explain it well...  ;)  The most common example:  I want to give a vocalist some reverb in their headphones while they're singing- be able to adjust the amount- and not print it to the track. 

It's kinda like the having a mixer with a pre fader aux where you insert an effect.  I've figured it out but if there are other ways to do it I'd be interested in knowing. 

Thanks for the info gswitz.

I have 16 outputs (8 stereo) available for monitors and headphones.  My normal template has 4 busses each assigned to its own stereo pair for headphone mixes. Each headphone send has it's own mix set up from the "Send" on each channel.  This is standard practice for hardware mixing desks and I work my DAW the same way.  It's great for recording a whole band. 
 
Reverb
1) drop a low latency (crappy) reverb in the vocal FX bin. (reverb only on Vox, but it goes to every headphone mix, and studio monitors)
2) put a low latency reverb on the individual mix bus. (Reverb only to Vox headphones, but on every instrument)
3) Create a reverb bus with a crappy low latency reverb on it, send vox to it, add to vox headphone mix with "send". (Reverb only on Vox AND only in vox headphones (unless you also send it to other headphone mixes))
 
 

It really depends on your interface and if it has a software mixer or not. 
But the easiest way is a mixing board with on board reverb in the path. 

I've used all of the above over the years but the most common is a reverb buss in Sonar. Although, my Studio-Captures have a built-in reverb just for that purpose. It sounds kind of cheesy but it does get the job done without using more cpu for another send.

One of the reasons (of many) that I got the Octa-Capture is that it has a perfectly workable reverb built in for that specific purpose.  Makes the process you are describing brainlessly easy.  

I don't have a mixing board.  I'm using Sonar only.  This is what I've figured out and it works on reverb- pretty much regardless of what settings you have in the mixing latency (well, at least 1024 or less).

1:  In the master section I insert a stereo bus and drag in a reverb plugin (i LIKE the Lexicon plugin that came with 8.5 and X1!).  Name it "Reverb"
2:  Insert an audio track and insert the Reverb send
3:  On this audio track click input echo to "On", lower the volume all the way to OFF (vital because it eliminates the dry signal), assign the input to the mic you're using on the vocalist, click the reverb to "pre fader", and adjust the send level to taste.

Because this is a reverb effect you wont notice latency.  In fact if you have the audio buffer setting to higher (like 1024) it almost helps because of the pre-delay.  NONE of my artists EVER complain about latency when I do it like this.  I don't think this would work with effects like EQ, compression, or really anything else but reverb but it works nicely to give an ITB reverb mix to the performer.

Anyone else do it this way? 
 

Good answers all. If you 'gotta' do it in the DAW, like most here say, make an FX bus with reverb on it, and send the vocal to it.
 
If you ever run into some money at a later time, invest in an interface with built-in FX. I use a Motu Mk III hybrid, which makes it really easy.

I have my starter file already set up with a bus called Live Monitor. On that bus I have a low latency reverb which I activate when recording microphone based tracks.

From a track I'm recording onto I have input echo on, and I have a Post fader send going to the Live Monitor bus.

After I've recorded a track to my satisfaction, I turn off the send and also input monitor.

The next track I'm recording I light up input echo and a send to the Live Monitor bus.

Why do this?

1. I have a reverb for monitoring when I sing or record something through a microphone. The reverb can be adjusted as desired.
2. The Live Monitor bus effectively doubles the volume of what I'm recording, enabling me to hear more clearly what I'm recording at that moment.
3. The reverb is optional (can be turned on or off, and/or adjusted), and only applies to that track.
4. The send level control from the track makes it easy to dial in how much additional volume I or the person wants to hear on their headphones.
5. I use the same technique for recording non-microphone stuff as well - amp sim or keyboard/MIDI parts - because it allows you to hear what you're recording more at the forefront of the mix in your headphones. But for those I would not generally need the reverb and I leave the reverb set to off on the Live Monitor bus for those tracks while recording.
6. Anytime I turn off a track's send to the Live Monitor bus I drop back into regular mix volumes for everything so I can hear how it sounds at intended volumes after the recording has been captured.