The more I work with especially rock-centric tracks and guitars, the more I’m worried about the low-end muddiness. Guitar amps, even amp simulations, generate a lot of low end stuff that might in many cases just be rumble and not sound good. Now, it’s easy to EQ out that part, however there’s another aspect I think it’s good to know about.
It’s about also filtering any reverb and delay output. For example, Logic’s Space Designer has a dedicated EQ section where you could filter out any areas (or boost). In my case, to get that shiny guitar sound so over-used in the eighties, I’m removing the low end for the bus where guitar tracks are beeing fed to the Space Designer dedicated with a plate reverb.
Similarly, Logic’s Tape Delay also has this, some use it for those spacy dub feedback loops with high-end only, but it could also be used for other purposes. Also, Izotope’s Ozone reverb has a similar way, you could even carve out a specific spectrum where the reverb operates — a little bit like doing shoe-polish finish with a high-end reverb in the final mix.
Another feature good to explore is that many of these reverbs also have a pre-delay setting. If you use that one the reverb will not kick in immediately. The benefit is that the original instrument has the attack sound preserved so the initial starting part sounds clear and then the rest could have more or less reverb.
As with anything else, experiment with your ears, but I hope you take a closer look at the EQ options available in reverbs. In my case I’m on a constant battle against rumble frequencies that does not make sense for the final production.