Question about effect returns and reverb

I've never been clear about something, at least about "standard practice" when it comes to effect returns and reverb. 
 
Let's say a delay bus in place, as well as a few types of reverb. 
 
Now I know it's standard practice to use reverb buses as common reverb for multiple tracks. But what about when you're also using, for example, delay buses in the same way? 
 
Let's say you have a synth track with a reverb send. You also have a delay send on the track. You're sending the dry signal to the reverb and the delay buses separately. So the signal to the delay bus is going to end up without reverb on it. You want this delayed signal to sound like it's in the same space as the source track, so you make a send from the delay bus to the same reverb bus you used for the source track. At least this is what I do. 
 
But what happens when the source track has multiple reverb sends? You might be sending a little to a room reverb and a little to a hall reverb. The delay send, however, goes to a delay bus which may be used by other tracks. You could make the same two reverb sends from the delay track, but what if this is not what you want for the other tracks using it? Is this when it's time to forget about shared delay sends and either create a delay bus that's exclusively for that track, or just insert individual instance of the delay on the track itself without using sends? Not sure how other people approach this. 

It depends :-)
 
This is one of those times when dropping a reverb or delay in on the source track rather than on a bus comes in handy.
 
For example, I might have a single "main" room reverb on a bus. Then create a track for recording guitar, and I want a delay and spring-style reverb on that track only. So I add the relevant delay and reverb plugs to that track, but might also create a send to the main room reverb bus as well just to make everything sound like it was recorded in the same acoustic space. Needs a bit of care because it's adding reverb to reverb, but works. 

I'm a big fan of common delays and reverbs. My song templates have 2 delay bus tracks (a short and a long) and 3 reverb bus tracks (short, long, plate). All tracks have the ability to send to these bus tracks as needed. This is just old school mixing and for me I can accomplish at least 95% of what I am after with this setup.
 
If I have a track that needs a special effect path... then I'll set that up as needed. I will usually have one or two tracks like this on a project... but nothing I can really pre-define into the template.

Yeah I figured I'd get "it depends." I guess it just bothers me a little that sometimes my neat and tidy practice of using common effect buses, which appeals to my sense of efficiency, doesn't always work as needed. I like to keep things simple, which obviously doesn't apply to every situation.

Messy only lasts until the final bounce.
 
Then you start all fresh and clean on the next one.

The graphic only shows one send, you could have the signal coming back from that send and going back out to another send before it hits the buss. Can we get confirmation from cakewalk about this?

Yeah That Diagram is clear enough, but it makes no sense to me to have sends in parallel, I always thought that sends and returns were in series. I have to think of a way to test this out.
Thanks Maartian,
 

stereo vs mono
 
requires different approaches
 
make sure you cover all those bases as well.

Just think of a Send as a copy of the original audio.
 
And tlw is 100% correct - all sends are completely independent of each other and only get routed to where their output is routed.

Ultimately, use your ears to see if it sounds good. It was already mentioned, in a denser mix, it would probably be difficult to discern that level of subtlety. I am working on a mix right now, and I have a common delay bus and that is also being sent to the common reverb. I wanted the delay to have the room sound. It worked and it sounded good, so I stuck with it. It was also already mentioned that you could get away with placing a delay plug-in with the same preset (if that's what you want) on multiple source tracks and then sending that signal to as many reverb busses as you want. If CPU ever becomes problematic, just freeze. I'll say the common reverb is a guideline that will come up more consistently in these sorts of discussion, but this seems like one of those cases whereby if it sounds good, it is good.