Module 11
Reverb, delay, modulation effects, classic presets, and signal chain order
Part A
Each effect processes whatever comes before it. If you put reverb before distortion, the distortion processes the reverb tail—usually muddy. Reverb after distortion: clean distortion in a space.
While rules can be broken creatively, this order works for most situations.
In a DAW, plugins process top-to-bottom (or left-to-right). The same principles apply.
Once you know the rules, break them intentionally for creative effects.
Pre-delay is the gap between the dry sound and when the reverb begins. It keeps the source upfront while still having ambience.
How long the reverb tail lasts. Short decay = small/dead room. Long decay = large hall or cathedral.
Damping controls how quickly high frequencies decay relative to lows. High damping = warmer, darker reverb. Low damping = brighter, more present.
The balance between dry (original) and wet (reverb) signal. On sends, this is controlled by send level and return fader.
Simulates large concert halls. Long decay, diffuse reflections, grand and spacious. Classic for orchestral and epic sounds.
Originally a large metal plate with transducers. Bright, dense, smooth decay. The classic vocal reverb sound.
Simulates small to medium rooms. Short decay, natural reflections. Adds ambience without obvious 'reverb' sound.
Metal springs vibrating create reverb. Distinctive 'boing' character, twangy, vintage. Found in guitar amps.
Room-like ambience. Doesn't add obvious reverb but makes things sound 'real' and 'glued' together.
Adds depth and dimension without drowning. The workhorse reverb for most mix elements.
Dramatic, ethereal, effect territory. Use sparingly for special moments—can quickly wash out a mix.
Set up three aux/return tracks. Send different amounts from each source to each reverb.
The gap between original and repeat. Can be set in milliseconds or synced to tempo (note values).
How much of the delayed signal feeds back into the delay. Low = few repeats. High = many repeats. 100%+ = infinite/runaway.
EQ on the delayed signal (and often the feedback path). Makes delays sit back in the mix instead of competing with the dry sound.
Different delay technologies have different characters.
Single short repeat, no tail. The sound of 1950s rockabilly, Elvis, and vintage rock. Adds excitement without obvious echo.
The Edge/U2 signature sound. Dotted eighth creates polyrhythmic interplay with the beat.
Big reverb cut short by a gate. The massive 80s drum sound (Phil Collins, etc.). Reverb explosion that stops abruptly.
Reverb with pitch-shifted feedback (usually octave up). Creates ethereal, angelic, ambient soundscapes.
Short delay (20-50ms) with LFO modulating the delay time. Creates slight pitch variation = sounds like multiple voices.
Very short delay (1-10ms) modulated by LFO, with feedback. Creates comb filtering that sweeps = jet plane sound.
All-pass filters create phase shifts at specific frequencies. LFO sweeps these frequencies = swirling peaks and notches.
Tremolo modulates volume. Vibrato modulates pitch. Often confused (even by amp manufacturers).
Insert effects process 100% of the signal. The entire signal goes through the effect. Best for processing that changes the entire signal.
Send effects receive a COPY of the signal. Original stays dry. You blend dry + wet with send level and return fader.
Post-fader: Send level follows channel fader. Pre-fader: Send level is independent of fader.
You can process the return/aux track—EQ the reverb, compress the delay, etc. This shapes the effect without affecting the dry signal.
Context
Deep Dive
In Practice
How reverb, delay, and modulation shape iconic sounds.
Avoid These
Common problems with reverb, delay, and modulation.
Train Your Ears
Train your ears to hear reverb, delay, and modulation.
Implementation
Practical setup for reverb, delay, and modulation.
Self-Check
What does pre-delay do on a reverb?
What is slapback delay?
Why is reverb typically used on a send rather than insert?
What creates the 'jet plane' sweep sound of a flanger?
In the typical effects signal chain, where should reverb usually go?
What is the difference between chorus and flanger?
What is the purpose of the 'three reverb system'?
Remember
Effects process what comes before them. Distortion Reverb = clean distortion in space. Reverb Distortion = muddy mess. Know the typical order, then break rules intentionally.
Reverb and delay usually go on sends, not inserts. Multiple tracks share one reverb = cohesive space. Process the return (EQ, compress) for further control.
Short (0.3-0.8s) for glue, medium (1-2s) for depth, long (3s+) for drama. Different elements get different amounts. Creates dimension without wash.
Slapback, dotted eighth delay, gated reverb, shimmer—these are specific recipes that became genre-defining. Know the key variables to dial them in instantly.