What's really cool about reverb is there are so many parameters that you can play with.
First of all, I always prefer to set up the reverb as an effect rather than as a process. That means I don't use it as an insert, at say, 10% wet, but rather put the reverb on an aux return set at 100% wet and adjust the amount using the aux sends on each channel.
It can make a difference in the overall sound.
The next step is to choose the general reverb type - plate, room, hall, chamber, or special fx (like gated or reverse). It's useful to have a good small room preset handy just to give recorded tracks a little more "life" without actually adding a reverberant tail - especially if the recordings were made in mostly "dead" acoustic spaces.
The small room programs will often keep that "dry" sound you like, while still adding a little dimension. You have options of adding or subtracting to the ambience both by the amount of signal you are sending to the reverb (via your aux pot) or by actually changing the parameters of the reverb program itself. Not only can you change the size of the room, but many reverbs let you change the shape of the room, the composition of the reflective walls, and of course, the predelay. Other reverbs have parameters for density as well. Each box or program will react a little differently, so the best plan is usually just to take some time and play with each parameter to get a feel for what it does.
Finally, eq'ing the reverb itself may give you the results you are looking for. Too much sibilance? Try rolling off some high end on the reverb. Too dark or muddy? Try rolling off some low end.
This is not meant as a complete course in reverb - just a starting point. Others should feel free to add to this.
POST-SCRIPT: I WROTE THIS BEFORE I NOTICED MOSHE'S EXCELLENT ARTICLE IN THE LINK A FEW POSTS ABOVE. HIS ARTICLE IS FAR MORE COMPREHENSIVE THAN MY MEANDERINGS, SO CHECK IT OUT.