I think it was one of Craig Anderton’s ideas.
Take any two reverbs and mix them. They can have different nonlinearities to them that interfere in pleasant ways.
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Nice! I suppose short serial rooms will give best results since reverb time in serial connection will… multiply, right? So like x2 distance from the source. Of course we can use compressor after them to compensate time side effects and focus on mangled early reflections which is a real fun imo
Well they are used in parallel here. Which makes sense, I suppose
For extra huge reverbs I love having two slight variations (eg I just change speed of modulation, things like that) of the same reverb at about 50% D/W panned at -50% and +50%, going together through a third one, different, generally set with (even) longer decay, at 100% D/W. If possible I kill the predelay on the first two or the third, to avoid initial weirdness. EQing after helps, too.
It is not delicate but it works for me !
Usually it is with two ValhallaVintageVerb into one Raüm or SuperMassive. 
That seems like a lot. And those reverbs don’t have any trouble standing on their own.
There are all sorts of variations on this, and that’s before you even start doing things like feeding wet reverb signals into VCV Sound Stage and animating the sound sources’ position in the room.
You’re right it is too much, I should stop.
Yes indeed ! I really like reverb not always as a way to set a “natural stage” but more as a sound design tool, so, no limit !
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I’m a big fan of doing things like this with reverb.
I also like to split the signal of a sound with filters and send it to slightly different reverbs.
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Proper!
Running a reverb through a delay also usually gives pretty interesting, evolving, results 
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