Reverb and delay are how you turn a dry, flat recording into something with space and depth. Used well they’re invisible glue; used badly they bury your mix in mush. Here’s how to get them right.
Use sends, not inserts
Put reverb and delay on send/return channels so multiple tracks share the same space – it sounds more cohesive and uses less CPU than a separate reverb on every track.
Reverb basics
- Room/plate reverbs are versatile for vocals and drums; halls are big and lush.
- Set pre-delay (a short gap before the reverb) to keep the dry signal clear and up front.
- Roll off the lows and highs of the reverb so it adds space without mud or harshness.
Delay basics
Sync delay time to the song’s tempo (e.g. 1/8 or 1/4 notes) so it feels musical. A short slap delay thickens vocals; longer delays create depth. Pan delays for width.
The golden rule: less than you think
Set the effect while soloed, then cut it roughly in half in the full mix – you should feel the space more than hear it. This fits into the wider order of operations in our mixing guide, and pairs with EQ and compression.
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