Many of us older players have trouble actually hearing WELL what is coming out, particularly in the upper range (where much of the reverb's color comes from).

Essentially, as far as I am concerned, you listen to a recording, then try to come to the same degree of overall 'wetness'. 9/10 times, on any arranger factory default, you have to back it off a bit.

Something that many of us playing out live have to remember is, we don't play in anechoic chambers! The room we play in is PART of the overall reverb picture. But we rarely get to hear it, well. Our monitors overpower us hearing the room, and it doesn't really develop until well into the room. But remember, a real drummer has NO reverb on at all! The room is his reverb. For us, playing in often fairly lively rooms, any reverb on the drum track merely seems to push the drums back in the mix (remember, reverb can really be thought of as a 'distance' parameter - the more reverb, the further away they sound), and who plays in a real band 30 feet or more in front of the drummer..? LOL

It's a different story in a dead living room, though. This is why factory defaults often seem too much for pros... they are optimized for dead living rooms and amateurs, who like their peccadilloes covered up a bit, and a big spacious sound to convince them they are playing in a big hall (to all their adoring fans!).

Where you play has a radical effect on what you need. I have always felt that a GLOBAL 'Reverb Depth Offset' would be a fantastic thing to have, so you can quickly bump the reverb up or down in one go, rather than having to do it to every bloody Performance you have!