Dave,
 
it sounds like you need to use delays on tracks and then shunt everything through a room reverb.  Perfect Space is the perfect choice for rooms, once you flesh out the impulse choices.  Lots of good ones on the net.
 
Breverb is a great reverb, and I've got the softube one which is really nice.  But the real problem w/ most reverbs is that they ain't subtle enough.  To get a room feel you usually have to knock down the mix ratio to 20-30%.  Most reverbs come in at more than that - breverb has the reverb level at 100% and the mix at 50/50.  I don't blame the revberb designers - they want to show off their glorious work, but unless you are doing pyschedelia it is too thick.  The old standby technique of backing off the level of change until you can't hear it, then add a touch back, usually works for me.  Esp. for reverb.
 
@

Native Instruments RC24 and RC48. They are all I use anymore.
 
Regards,

Guitarhacker
I see the consensus here seems to be the Breverb.  I don't have it. Although I do have 3 or 4 others....I actually like and use the Cakewalk Studioverb2 on just about all my projects.
 
I load a dark hall or a bright hall and tweeze it as needed. It's my GO-TO reverb.

It's bummer that Studioverb2 won't work in Sonar X3 64bit!

I tend to like in order: TC M40, Valhalla Rm, Breverb and the trusty but always surprising Sonitus Reverb. I used to rely on perfect space a lot and can't say anything really negative about that fine verb. I guess I naturally want to stay away from anything that introduces more latency. Although I can't say I have any major gripes there, it might just be a leftover learning from the old SIR days that has me steering away from convolution verbs. I really haven't A/B tested it against the verbs I turn to, so this is more of a feeling at this point.
 
BTW - when I was using sonar 32 bit only, I used cakewalk's fxverb somewhere on every project. The plate verb I used (preset from the old Jonas template) was/is my favorite vocal bus verb!! I can get close to that sound with the other verbs mentioned, but still not the exact sound. My hope for that dx plug to ever see vst status has long passed.

I've used a lot of Perfect Space. Lately I've added Breverb and FXpansion Bloom (which combines other effects to reverb) to my toolbox.
 
With bloom you can, e.g., do first a short ping-pong delay, set the mix for 80% wet, saturate and chorus it and run it trough reverb.

Yes, good point AT.  I wound up using Breverb with good results as a Send.  And I made sure to set the Reverb at 100% and the Dry signal to 0%.  This results in minimal change to the overall level of the individual tracks.
 
Thanks.

Reverb (and delay) are great effects. For one, reverb takes the sound "out of your face" and gives it some depth, and width too if you want it.
 
As for plugin reverbs, I like Breverb a fair amount - but it's new to me and I haven't done anything but play with some of its presets. I personally use a hardware reverb unit, the Lexicon MX300 - and I use it as a hardware plugin in SONAR. All that said, my goto factory patch on my Lexicon is called "Tuned Room" (patch #44 if you have a similar Lex unit). It's a great way to get away from the ultra-dry/in-your-face sound of most non-effected tracks and put them into an almost studio tracking room situation where they can sound way more natural. Just like you cannot have your eye an inch away from anything and see it all, your ears need some distance from a sound to "hear" it all, IMHO.
 
I don't always leave any reverb on every track, but I certainly use it 99% of the time to hear the "whole sound" by moving it away from me (again, getting it out of my face, so to speak) while I am tracking, to make sure the whole sound is doing what I want it to do. I mean almost EVERY room produces some reverb naturally, so I like to hear sounds in that environment at least once during the process to make sure it is a believable sound in a real world environment - and not what it would sound like in a room with pounds of sound deadening on every surface, which is very unnatural to the human ear. Super dry is great for recording (so you can then effect it anyway you want without "hearing the room" too), but is otherwise very unnatural to the ear.
 
So long story short, I'd start with some smaller than a Hall, and go from there. As I said, I like to start with a Room of some sort - just to get the sound out in the open a little bit so it can be heard from top to bottom & side to side.

My default reverb on an ambiance bus is ValhallaRoom with the LV-426 algorithm and Medium Hall preset. It's a good general-purpose starting point to begin tweaking from.
 
However, whenever I pull up an old pre-Valhalla project I'm often surprised at how good the reverb sounds, and it's usually PerfectSpace. Especially on instrumentals and vocal ballads where the reverb is upfront.
 
(Off the topic, but for special effects, I like to mix it up: StudioVerb2, Valhalla UberMod, Sonitus Reverb, Toraverb and PerfectSpace all find places. Even the oft-maligned Pantheon has its uses. And believe it or not, PerfectSpace can give you great weird effects with the right IR and modulation. For long, lush Vangelis-type synth pads it's always ValhallaRoom.)

I forgot to mention when using the Breverb, I started with the Medium Hall preset and made adjustments.  One was dialing back the length of the reverb down to 1 second to keep it short and sweet and avoid a mushy mix.

gigasonar
 
 
It's bummer that Studioverb2 won't work in Sonar X3 64bit!

 Agreed - used to use that all the time