More separation with individual reverbs

Use channel tools to shrink the stereo width of the reverb(s) and put them exactly where you want.

If you want to know how to do reverb properly, think like a sculptor!
 
Me, I use a separate verb for voice, drums, guitars, acoustics, and even sfx. True story, and how do I stop it sounding like a big pile of shiny ****e? Well, as bit suggest diffusion is important, second proper gain staging out to the busses, understanding how verb works in the real world, so for a room roll off at 80hz between 3 to 6 db, roll off the top end at 4k, same amount. Then there is the secret special sauce, virtual binaural sound...literally you pump the verb up into 3d, this doesn't just work for headphones mind you...it helps the sound diffuse into the air when listening on stereo speakers. Of course, I'm not giving you the whole formula...there are a couple more steps that are needed. If I gave away all my secrets, well...
 
Ben
 
Here is a track I prepared earlier https://youtu.be/46MA8Uw1w8c enjoy
 

I always turn reverbs on synths off, and use my Reverb busses. Some where I've been on the fence with this is the room mics in AD 2, which is essentially a recorded reverb. If you use the room mics and a reverb buss, it's pretty much using more than one reverb. It makes sense to me to keep these  if you are using the whole kit, then the room mics make a kit sound together, but I mix and match my kits, and they are recorded in a number of studios. I'm pretty clueless of which is my favourite kit, as I scroll through the snares, to the one I like and scroll through the hats again. So the roommics will end up being room mics from different rooms.
 
I picked up SampleModellings Brass before Christmas, which are anechoic samples. Sample modelling implemented an early reflections reverb to help these sit in mixes easier after feedback.   I've been turning these off too. Opting to choose a buss reverb (Fab's 'The Office'). Analogue (Virtual) are sonically anechoic too. So mixing these sounds makes sense to give them the same early reflections.
 
For me Reverb isn't about Emulating a real room, but creating an atmosphere and pulling sounds together. If I was mixing a Modern Jazz group, or string quartet, then maybe I would want to simulate a believable space. But I guess guys that do this don't use reverbs anyway, but room mics and a good room. Seems that when reverb Chambers were used, they were for effect, and not for creating realism. Same for plate and spring reverbs. I think as soon as you place a you bass in the middle of a mix, you are not looking to emulate reality, but just maximize your mix.
 
Having 3 reverbs to me, creates opportunities for removing 'mud' not creating it. You don't have to use all three on every sound. If you want a sound to have a reverb, but not have too much of tail, then apply some of the 'Ambience and  'room' and no plate. If something is part of the backgrounds space, then more 'Plate or hall' and some 'room' but no 'Ambience/Office'. So using less of eachs reverb, but the blend creates the space. and different applications to each of the three helps create separation. You can then add further EQ to these to remove unwanted energy and deal with clashes.