@Talmi, that is awesome! I didn't know it did that. Good suggestion, @superliquidsunshine!
I may test tonight and see how this stacks up to my latest reverb approach.

 

It's very interesting. A bit the ultimate spacialization tool.

 

I'm not sure on what approach you use digitaldragon, I have usually at least two separate returns/aux for reverb treatment, The first is dedicated to early reflections which I found works extremely effectively in giving elements in a mix a cohesive "glue", So that the elements sound as though they we're tracked in the same space most importantly when they have not been (Example being tracking a multi mic'd drum kit in a nice studio and then adding the bass guitar and guitar tracks...etc. whilst back in the home setup, Also works the other way when using multi mic'd drum kit ROMplers to get as realistic a sound as possible if not having access to a drummer with a quality sounding kit whom is capable of playing what I require/the material requires, However it applies to most source material just as equally).
Then on the second it'll be more of a regular 40% early reflections and 60% body and tail of the reverb/A conventional type of setting which is far more in the vein of a generic starting point patch which has been tweaked to fit.
Then they get grouped/bussed together for easy control of levels relative, There might be others such as a plate which maybe only vocals go to and something for the snare perhaps.
This approach has definitely helped me a lot when not able to track everything in the same space or not able to get hold of a drummer up to snuff...etc. on my own work, However using my own stuff as guinea pig pretty much, It developed into a method which I often use when engineering and mixing for other people/bands.
I kind of can only compare it somewhat to the manner in which using multiple returns/aux tracks with a separate flavour of compressor/levelling amplifier/any dynamic range reducing processor on each which can be blended via the fader level, A complex but once done a few times becomes part of one's workflow (If it is something a person finds works for them/their needs) of parallel compression, Which is a really useful approach to making the most out of the nature of certain "character" compressors without them being strapped across the main mix bus where they often cause issues instead of adding anything genuinely useful character wise.
So another way of adding cohesiveness to a myriad of source material but via spatial cues (I hope I'm making sense/describing what I'm trying to well enough).
The IRCAM stuff developed with Flux is top draw, Spat would definitely be an ideal candidate for such a task, Very comprehensive but not a nightmare to use which I think is commendable on the people involved, As it could easily turn into a 20 tab/page nightmare for tweaking sorts only given it's complexity

I don't want to babble on any more and go off topic, It's always interesting to hear how others work, Appreciate the sknote reverb mention, I've not tried any of the sknote stuff I don't think apart from something which came on a CM cover disc, It's a very useful tool called "Snap", Quite powerful for only a pair of controls. It's reminded me to put looking into, I remember Quinto from my KVR days which are very few and far between now, He's done really well getting into the high quality hardware market along with delivering from all the feedback I have seen, Much loved plugins to ITB folk and priced very keen/fairly, Nice one

All the best to all as always, Thanks and take care as always

 

Why not use the one you like the best? How do any of us know what you like. It'd be like me asking what's the best guitar to use? I got through the audio jungle for the last 40 years by trial and error. I'd have accumulated no knowledge of my own if I asked a question as you did and assumed that the one that got the most votes was best. Don't be lazy. Work your arse off if you really want to be good at what you do.

 

The only effect for losers.

 

@Death Thash Doom, I'm using a similar approach to yours in that I put everything in the same "room". I usually use a small tight space as it's really glues things together. I'm using three different sends, one for far instruments (bass, drums, some of the backing vocals, etc.), one for closer things (guitars, backing vocals) and one for up close in your face things (lead vocals, solo guitars). Each different one uses different predelay and tail level settings to provide a different feeling of depth. But since they all utilize the same space, it still gives that sense of being in the same space. I'm still pretty amazed at the results. Things just sound more pleasant, less flat.

 

There's no such thing as "the best reverb for vocals". What is the song? Is it a ballad? Is it an electronic track? Is it a latin jazz song? Is it rock'n'roll? They need different kinds of reverbs. No single reverb will be "the best" for everything. Learn different types of reverbs first. Don't want to make it sound like a particular room? Use a plate. Slow ballad or background vocals? Try a hall. Want something noticeable as an effect? Try a reversed reverb. Then, learn the tricks of the trade. Use your filters for "the Abbey Road reverb trick", cut off the high end so your vocals don't sound like 70s disco. Play with pre-delay, try timing it to the song. As far as plugins go, try the popular ones first. Try ValhallaDSP, try Waves Renaissance/TrueVerb/H-Reverb, try T-RackS. Find what you like. Learn which ones work the best for you and your music. And please, consider using delay first so you won't end up putting too much shit all over your mix.