Effects in the Studio

Do like Eric Clapton did in the 60's.  They told him he need to turn his amp down, that its too loud and he told them this is how I play.  The sound of marshall and les paul wouldn't have happened as early as it did if EC had backed down.  Just tell them flat out NO!

The "problem" with recording a guitar with effects is that you can't really remove or adjust the effects to fit the guitar in the mix.  However, there is no right or wrong way of doing things.  I would A/B the recorded reverb and reverb added post-tracking.  If it is a real problem, a compromise is to add the reverb into your phones while you record so you put the dry track on tape, but are playing like you tacking with reverb.

Joe is right, if you are paying the guy or gal at the board, he is not the boss. If he or she can't deliver what YOU want, trust me there are plenty who will do EXACTLY as you ask, albeit there is a chance you don't like how your "exactness" sounds in the end.  A producer can be the arbiter of exactly what to do and say, but again, if he or she's on your dotted line, YOU make the decision. Now, Joe has it together unlike anybody I've ever seen or heard, so Kevin's style of recording "live" must be like a dream.  And Joe has golden ears. Not everyone needs fancy doodle engineering, and even a great engineer can only make GREAT out of preexisting excellency.  But if musician(s) makes easy work out of recording sessions for an engineer and producer, things are like a dream state indeed, instead of grueling nightmarish horrors of exhaustion.  If you know what you want, and can get it yourself, great, but if you can hear 'it" and need some professional opinions, work it whatever way you can.  The compromise doesn't work if you aren't even using headphones but relying on the room sounds with YOUR amp and YOUR effects set up YOUR way.  Sometimes it has to go down in one take and no fiddling with "perfection".
Reverb from an amp, a large reflective warehouse room or plate, outboard, pedal or amp reverb has to be (will be) set in stone at some point, and pre-effect(s) Y-split tracking (dry vs. "wet") is an answer if you need insurance as you work it.
But as Joe advises, stick with your game plan or revise it a tad but don't desert it on a whim (of others).

Rock ON & Keep the Faith,
Rocket

"He still doesn't charge for mistakes! "
http://jbonamassa.com/tour-dates/
"Everybody wants ta get inta the act!"
“Now, this isn’t your ordinary party crowd, here.  I mean, there are professionals in here.”

The engineer in me (always a much stronger point of influences than any semblance of musicianship in me) has a set of default thoughts exactly as yours were kissfanps.  I learned it that way.  But I have learned that one can adapt thoughts, as producers will DEFINITELY make you do so! And as a producer, you got to love to sometimes tweak the other chair a bit...while standing up, literally for what WE want (and that, whether expressed or acknowledged outright DOES include the engineer, second engineer, all those friends hangin' around, and the artists, albeit sometimes majority opinions over the artist's objections; but they can always use veto power, with no two-thirds votes overrides all decisions-good or bad, possible!)  Personally, I like phones and pure dry and the tracking with the reverb. It always sounds decent good and may or may not end up with the exact parameters entered or even printed at all. 

Rock On & Keep the Faith,
Rocket

"He still doesn't charge for mistakes! "
http://jbonamassa.com/tour-dates/
"Everybody wants ta get inta the act!"
“Now, this isn’t your ordinary party crowd, here.  I mean, there are professionals in here.”