Delay & Reverb Time Calculator

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Delay Time Calculator

Delay Time calculator can be used to sync your reverb and delay times to the tempo of your song. Some people also use it to time their percussion instruments to begin and end (ring out) in time with their song.

Use the delay calculator to make a subtle delay mixed just under a reverb (using a delay calculator derived time). Mute the delay – Notice a difference?

I like to mix and match sometimes triplets with regular note times, sometimes using reverb for one and delay for the other. Try applying 3 different times from the delay calculator to a LCR delay.

Delay calculator time – Applied Usage

I also suggest using the time calculated from the delay calculator to be used as the entire time… Say you use the delay calculator and calculate a time of 600ms from a BPM of 100. You decide to apply this to a reverb, and use a predelay of 15ms. You got 15ms from taking 600ms derived from your delay calculator and divide by 40 or you notice that 1/16 note is 150ms and reduce by a factor of 10. I would now subtract 15 from 600 resulting in 585. Predelay is 15ms, reverb time is 585ms, and total reverb time including predelay is 600ms. Most of all, the delay calculator is a tool, and you should use your ears.

Take a look how they use the delay calculator for compression on musician on a mission.

Reverb Time Calculator

I primarily use this tool for reverb to get a tighter rhythmic affect. Generally, I use shorter time on percussive sounds (I tend to like punchier drums) and longer times on other instruments (with the exception of lowers frequencies.) It's often a good idea to roll off lower frequencies, but always use your ears in context with the mix.

Reverb Pre-Delay Calculation - In-depth Usage

To calculate the pre-delay of your reverb, you can use different settings that divide into the total reverb time, which is the time it takes for the sound pressure level to reduce by 60 dB (also known as RT60). Here's an example:

• BPM: 120
• 1/64 delay time: 31.25 ms (pre-delay time)
• 1/2 delay time: 1000 ms (decay time = total reverb time - pre-delay time = 1000 ms - 31.25 ms = 968.75 ms)

You can use the delay lengths of different note values as a starting point for your pre-delay and decay time. In this example, the 1/64 note delay time was used for the pre-delay, but you can also try the 1/128 or 1/32 delay time. To adjust the decay time, subtract the pre-delay time from the total reverb time to get the decay time. In this example, the decay time is 968.75 ms.

Reverberation and delay/echo - What's the difference?

Reverberation and delay/echo are actually the same thing. It just depends on the space and time that it happens within. Reverberation time is the amount of time required for the sound to "fade away" after the source of the sound has stopped. Keep that in mind when designing your reverb. Imagine the space for your sound if it helps. According to Wikipedia, "Reverberation, in psychoacoustics and acoustics, is a persistence of sound after the sound is produced. A reverberation, or reverb, is created when a sound or signal is reflected causing numerous reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space – which could include furniture, people, and air. This is most noticeable when the sound source stops but the reflections continue, their amplitude decreasing, until zero is reached."

Basically, I just like to use this to find times that will sync up with the tempo of my song.

Further usage - Reverb and Delay

Creating depth in your track can be achieved by using multiple reverb settings for different instruments. For example, you can use a long reverb tail for strings and keep the kick drum up front. However, be careful as too many reverbs can negatively affect your mix, especially if the instruments are meant to sound like they are in the same room. In this case, using the same room reverb for all instruments can create the desired effect. Additionally, adjusting the reverb for the snare to die just before the next hit and using a low and high cut on the reverb can help clean up the mix. A compressor on the reverb send and sidechaining it to the audio source can also help reduce the reverb when the instrument plays.

Use Hz on Delay Calculator to time the LFO to your song

Time and tune your LFO to the tempo of your song to add interesting and dynamic effects to your music. A low-frequency oscillator (LFO) is a device or software that generates a rhythmic pulse or sweep that is typically below 20 Hz. This pulse can be used to modulate synthesizers, delay lines, and other musical gear to create effects such as vibrato, tremolo, and phasing. The delay calculator can also help you find the corresponding Hertz values for various note values, which can be useful for creating effects that complement the tempo of your song. Try experimenting with different LFO settings to enhance your tracks.

More on usage of the delay and reverb Calculator

This delay calculator can be a useful tool in determining the right delay time for your song. Delays can add movement and depth to your tracks by timing the delay to the tempo of your track. The Delay and Reverb Time Calculator can help you find the right settings for your delay whether you want the delay to be noticeable or not.

Some delay effects can be synchronized to the project's BPM, while others cannot. The delay calculator can assist in finding the right settings for depth by trying out different delay times from the normal notes list. To add movement, try using multiple delays with different timings, such as triplets or dotted notes. You can even pan them to different positions for a more interesting effect.

Additionally, the delay calculator is especially useful for guitar pedals that allow you to enter a delay in milliseconds.

There are many types of reverb and delay, which we'll move onto next.

Delay Types

Ping-pong

Ping-pong delay is a type of delay effect that bounces the audio signal back and forth between two or more delay lines, creating a stereo or multi-channel "ping-pong" effect. This effect can be used to create a sense of movement and depth in a mix, and is often used in electronic music production.

Settings:

The most common settings for a ping-pong delay include the delay time, feedback, and mix (wet/dry) balance. The delay time determines the amount of time between each repeat of the signal, with longer delay times creating a more spaced-out effect. Feedback controls the number of times the signal is repeated, with higher values resulting in more repeats. The mix balance controls the wet/dry balance of the effect, with higher wet values resulting in more of the delayed signal in the mix.

Use Cases:

Ping-pong delay is often used in electronic music production to add movement and depth to a mix. The effect can be used on individual tracks, such as drums or synths, or on the entire mix to create a sense of space and depth. Additionally, ping-pong delay can be used to create a sense of movement in a track, such as a sweeping or pulsing effect.

Pros

• Creates a sense of movement and depth in a mix
• Can be used to create a sense of space and depth in a track
• Can be used to create unique sweeping or pulsing effects

Cons

• Can create phase cancellation if not used carefully
• Can become muddy or indistinct with too many repeats or long delay times

Various Parameter Settings:

• Short delay times with high feedback can create a stutter or glitch effect
• Longer delay times with lower feedback can create a sense of space and depth in a mix
• Varying the delay time and feedback for different tracks in a mix can create a sense of movement and depth in the overall mix
• Using different delay times for the left and right channels can create a stereo ping-pong effect

Ping-pong delay is a versatile effect that can be used to add movement and depth to a mix, create a sense of space and depth in a track, or create unique sweeping or pulsing effects. However, it is important to be mindful of phase cancellation and to not use too many repeats or long delay times, as this can result in a muddy or indistinct sound. By experimenting with different parameter settings, it is possible to create a wide range of effects with a ping-pong delay.

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Stereo Delay

Stereo delay is a type of delay effect that creates a sense of space and movement in a mix by applying delay to the left and right channels of a stereo audio signal. This effect can be used to add depth and dimension to a mix, and is often used in music production, sound design, and live sound reinforcement.

Settings:

The most common settings for a stereo delay include the left and right delay time, feedback, and mix (wet/dry) balance. The delay time controls the amount of time between each repeat of the signal, with longer delay times creating a more spaced-out effect. Feedback controls the number of times the signal is repeated, with higher values resulting in more repeats. The mix balance controls the wet/dry balance of the effect, with higher wet values resulting in more of the delayed signal in the mix. Additionally, some stereo delay plugins may offer a stereo width control, which can be used to adjust the stereo image of the delayed signal.

Use Cases:

Stereo delay is often used in music production to add depth and dimension to a mix. The effect can be used on individual tracks, such as vocals or guitars, or on the entire mix to create a sense of space and movement. Additionally, stereo delay can be used to create a sense of movement in a track, such as a sweeping or pulsing effect. In live sound reinforcement, stereo delay can be used to add depth and dimension to a live mix.

Pros

• Creates a sense of space and movement in a mix
• Can be used to add depth and dimension to individual tracks or the entire mix
• Can be used to create unique sweeping or pulsing effects
• Can be used to add depth and dimension to live sound reinforcement

Cons

• Can create phase cancellation if not used carefully
• Can become muddy or indistinct with too many repeats or long delay times
• Can cause listening fatigue if not used carefully

Various Parameter Settings:

• Short delay times with high feedback can create a stutter or glitch effect
• Longer delay times with lower feedback can create a sense of space and depth in a mix
• Using different delay times for the left and right channels can create a sense of movement and depth in the overall mix
• Adjusting the stereo width control can be used to create a sense of width and depth in the stereo image

Stereo delay is a versatile effect that can be used to add depth and dimension to a mix, create a sense of space and movement in a track, or create unique sweeping or pulsing effects. It is important to be mindful of phase cancellation and to not use too many repeats or long delay times, as this can result in a muddy or indistinct sound. Additionally, it can cause listening fatigue if not used carefully. By experimenting with different parameter settings, it is possible to create a wide range of effects with a stereo delay. In live sound reinforcement, it can be a powerful tool to enhance the overall sound of the mix and create a sense of depth and dimension in the sound stage.

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Swap Delay

Swap delay is a type of delay effect that swaps the left and right channels of a stereo audio signal, creating a unique and interesting stereo image. This effect can be used to add movement and interest to a mix, and is often used in music production, sound design, and live sound reinforcement.

Settings:

The most common settings for a swap delay include the delay time, feedback, and mix (wet/dry) balance. The delay time controls the amount of time between each swap of the channels, with longer delay times creating a more spaced-out effect. Feedback controls the number of times the channels are swapped, with higher values resulting in more swaps. The mix balance controls the wet/dry balance of the effect, with higher wet values resulting in more of the swapped signal in the mix.

Use Cases:

Swap delay is often used in music production to add movement and interest to a mix. The effect can be used on individual tracks, such as vocals or guitars, or on the entire mix to create a sense of movement and stereo image. Additionally, swap delay can be used to create a sense of movement in a track, such as a sweeping or pulsing effect. In live sound reinforcement, swap delay can be used to create unique stereo images and add interest to a live mix.

Pros

• Creates a unique and interesting stereo image
• Can be used to add movement and interest to a mix
• Can be used to create unique sweeping or pulsing effects
• Can be used to add interest to live sound reinforcement

Cons

• Can create phase cancellation if not used carefully
• Can become muddy or indistinct with too many swaps or long delay times
• Can cause listening fatigue if not used carefully

Various Parameter Settings:

• Short delay times with high feedback can create a stutter or glitch effect
• Longer delay times with lower feedback can create a sense of movement and interest in a mix
• Adjusting the mix balance can be used to create a subtle or pronounced effect
• Higher feedback and longer delay times can create a sense of confusion or chaos

Swap delay is a unique and interesting effect that can be used to add movement and interest to a mix, create a sense of movement in a track, or create unique stereo images. It is important to be mindful of phase cancellation and to not use too many swaps or long delay times, as this can result in a muddy or indistinct sound. Additionally, it can cause listening fatigue if not used carefully. By experimenting with different parameter settings, it is possible to create a wide range of effects with a swap delay. In live sound reinforcement, it can be a powerful tool to enhance the overall sound of the mix and create unique stereo images that add interest and movement to the sound stage.

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Echo

Echo is a type of delay effect that creates a repetition of the original sound, simulating the natural phenomenon of sound reflecting off surfaces. This effect is commonly used in music production, sound design, and live sound reinforcement.

Settings:

The most common settings for an echo effect include the delay time, feedback, and mix (wet/dry) balance. The delay time controls the amount of time between each repetition of the sound, with longer delay times resulting in a more pronounced echo. Feedback controls the number of repetitions of the sound, with higher values resulting in more repetitions. The mix balance controls the wet/dry balance of the effect, with higher wet values resulting in more of the echoed sound in the mix.

Use Cases:

Echo is a versatile effect that can be used in many different ways. In music production, echo can be used to add depth and texture to a mix, creating a sense of space and dimension. It can also be used to create a sense of movement, such as a sweeping or cascading effect. In sound design, echo can be used to create the impression of a large or small space, and in live sound reinforcement, echo can be used to create a sense of space and dimension on stage.

Pros

• Can add depth and texture to a mix
• Can create a sense of movement
• Can be used to create the impression of a large or small space
• Can add interest to live sound reinforcement

Cons

• Can create phase cancellation if not used carefully
• Can become muddy or indistinct with too many repetitions or long delay times
• Can cause listening fatigue if not used carefully

Various Parameter Settings:

• Short delay times with high feedback can create a stutter or glitch effect
• Longer delay times with lower feedback can create a sense of movement and interest in a mix
• Adjusting the mix balance can be used to create a subtle or pronounced effect
• Higher feedback and longer delay times can create a sense of confusion or chaos

Echo is a powerful effect that can be used to add depth, texture, and movement to a mix. It can also be used to create the impression of a large or small space and add interest to live sound reinforcement. However, it is important to be mindful of phase cancellation and to not use too many repetitions or long delay times, as this can result in a muddy or indistinct sound. Additionally, it can cause listening fatigue if not used carefully. By experimenting with different parameter settings, it is possible to create a wide range of effects with an echo. In live sound reinforcement, it can be a powerful tool to enhance the overall sound of the mix and create a sense of space and dimension on stage.

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Dual Echo

Dual Echo is a type of delay effect that creates two separate echoes, each with its own set of delay time, feedback and mix settings. This effect allows for greater flexibility and control over the echoed sound, and can be used to create a wide range of effects.

Settings:

The most common settings for a dual echo effect include the delay time, feedback, and mix (wet/dry) balance for both the left and right channels. The delay time controls the amount of time between each repetition of the sound, with longer delay times resulting in a more pronounced echo. Feedback controls the number of repetitions of the sound, with higher values resulting in more repetitions. The mix balance controls the wet/dry balance of the effect, with higher wet values resulting in more of the echoed sound in the mix.

Use Cases:

Dual echo can be used in a variety of ways, including music production, sound design, and live sound reinforcement. In music production, a dual echo can be used to create a sense of space and dimension, as well as to add movement and interest to a mix. In sound design, a dual echo can be used to create the impression of a large or small space and in live sound reinforcement, a dual echo can be used to create a sense of space and dimension on stage.

Pros

• Can add depth and texture to a mix
• Can create a sense of movement
• Can be used to create the impression of a large or small space
• Can add interest to live sound reinforcement
• Greater flexibility and control over the echoed sound

Cons

• Can create phase cancellation if not used carefully
• Can become muddy or indistinct with too many repetitions or long delay times
• Can cause listening fatigue if not used carefully
• Can be more complex to set up and use

Various Parameter Settings:

• Short delay times with high feedback can create a stutter or glitch effect
• Longer delay times with lower feedback can create a sense of movement and interest in a mix
• Adjusting the mix balance can be used to create a subtle or pronounced effect
• Higher feedback and longer delay times can create a sense of confusion or chaos
• Varying the settings for the left and right channels can create a sense of movement and interest in a mix

Dual echo is a powerful effect that can be used to add depth, texture, and movement to a mix. It allows greater flexibility and control over the echoed sound and can be used to create a wide range of effects. It can also be used to create the impression of a large or small space and add interest to live sound reinforcement. However, it is important to be mindful of phase cancellation and to not use too many repetitions or long delay times, as this can result in a muddy or indistinct sound. Additionally, it can cause listening fatigue if not used carefully. By experimenting with different parameter settings, it is possible to create a wide range of effects with a dual echo. In live sound reinforcement, it can be a powerful tool to enhance the overall sound of the mix and create a sense of space and dimension on stage.

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Early Reflections

Early reflections, also known as room simulation, is a type of delay effect that simulates the sound reflections that occur in a physical space. This effect can be used to create the impression of a room or other acoustic space, and can be used to add a sense of realism and dimension to a mix.

Settings:

The most common settings for an early reflections effect include the delay time, decay time, and mix (wet/dry) balance. The delay time controls the amount of time between the direct sound and the first reflection. The decay time controls the amount of time it takes for the sound energy to decrease by 60 decibels. The mix balance controls the wet/dry balance of the effect, with higher wet values resulting in more of the reflected sound in the mix.

Use Cases:

Early reflections can be used in a variety of ways, including music production, sound design, and live sound reinforcement. In music production, early reflections can be used to create a sense of space and dimension, as well as to add realism to a mix. In sound design, early reflections can be used to create the impression of a large or small space and in live sound reinforcement, early reflections can be used to create a sense of space and dimension on stage.

Pros

• Can add depth and realism to a mix
• Can create a sense of space and dimension
• Can be used to create the impression of a large or small space
• Can add interest to live sound reinforcement

Cons

• Can create phase cancellation if not used carefully
• Can become muddy or indistinct with too many reflections
• Can cause listening fatigue if not used carefully
• Can be more complex to set up and use

Various Parameter Settings:

• Short delay times with long decay times can create a sense of a small, live space
• Longer delay times with short decay times can create a sense of a large, reverberant space
• Adjusting the mix balance can be used to create a subtle or pronounced effect
• Varying the settings for different frequency ranges can create a sense of realism and dimension

Early reflections are a powerful effect that can be used to add depth, realism, and dimension to a mix. It can be used to create the impression of a room or other acoustic space, and can be used to add a sense of realism and dimension to a mix. However, it is important to be mindful of phase cancellation and to not use too many reflections, as this can result in a muddy or indistinct sound. Additionally, it can cause listening fatigue if not used carefully. By experimenting with different parameter settings, it is possible to create a wide range of effects with early reflections. In live sound reinforcement, it can be a powerful tool to enhance the overall sound of the mix and create a sense of space and dimension on stage.

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Bucket-Brigade delay (BBD)

Bucket-brigade delay (BBD) is a type of analog delay that uses a series of capacitors to store and delay the audio signal. The name "bucket brigade" comes from the way the signal is passed through the capacitors, similar to how a bucket brigade passes buckets of water. BBD is known for its warm, natural sound and its ability to create unique, vintage-sounding delay effects.

Settings:

The most common settings for a BBD delay include the delay time, feedback, and mix (wet/dry) balance. The delay time controls the amount of time between the original sound and the delayed sound. The feedback controls the amount of the delayed sound that is fed back into the input for additional processing. The mix balance controls the wet/dry balance of the effect, with higher wet values resulting in more of the delayed sound in the mix.

Use Cases:

BBD is often used in music production and live sound reinforcement to create vintage-sounding delay effects. It is particularly useful for creating tape-style echoes, and can be used to add warmth and character to a mix. It is also used in sound design and live sound reinforcement to create unique, vintage-sounding effects.

Pros

• Creates a warm, natural sound
• Can create unique, vintage-sounding delay effects
• Can add character and warmth to a mix
• Can be used to create tape-style echoes

Cons

• Limited delay time compared to digital delays
• Can produce a low-fidelity sound
• Can produce noise and artifacts
• Can be difficult to set up and use

Various Parameter Settings:

• Short delay times with high feedback can create a sense of a slapback echo
• Longer delay times with low feedback can create a sense of a tape-style echo
• Adjusting the mix balance can be used to create a subtle or pronounced effect
• Varying the settings for different frequency ranges can create a sense of warmth and character

Bucket-brigade delay (BBD) is a type of analog delay that uses a series of capacitors to store and delay the audio signal. It is known for its warm, natural sound and its ability to create unique, vintage-sounding delay effects. However, it has a limited delay time compared to digital delays, can produce a low-fidelity sound, and can produce noise and artifacts. Additionally, it can be difficult to set up and use. By experimenting with different parameter settings, it is possible to create a wide range of effects with BBD. In music production, it can be a powerful tool to add warmth and character to a mix and in live sound reinforcement, it can create unique, vintage-sounding effects.

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Tape Delay

Tape delay is a type of delay that simulates the sound of a tape-based delay machine. These machines were commonly used in the past for creating echoes and delays in music recordings. Tape delay emulation can be achieved through digital signal processing (DSP) techniques, and can be found in many software and hardware effects processors.

Settings:

Tape delay settings typically include controls for the delay time, feedback (the amount of delay that is fed back into the input), and the wet/dry mix (the balance between the delayed and original signals). Some tape delay emulators also include additional controls such as tape speed, tape wow and flutter, and tape saturation.

Use Cases:

Tape delay can be used in a variety of musical contexts, from adding subtle ambiance to a mix to creating long, swirling delays. It can be particularly useful for adding warmth and character to vocals and guitar tracks, as well as for creating interesting rhythmic patterns.

Pros

• Can add warmth and character, which can add a vintage feel to a mix
• The mechanical nature of tape delay can create unique and unpredictable variations in the delay, which can add interest and movement to a track

Cons

• Can be noisy and difficult to control, which can be a drawback for some users

Various Parameter Settings:

• Delay Time: This controls the length of time between the original signal and the delayed signal.
• Feedback: This controls the amount of delay that is fed back into the input.
• Wet/Dry Mix: This controls the balance between the delayed and original signals.
• Tape Speed: This controls the speed at which the tape is running, which can affect the pitch and tone of the delay.
• Tape Wow and Flutter: This simulates the mechanical imperfections of a tape machine, which can add movement and interest to the delay.
• Tape Saturation: This simulates the distortion that occurs when a tape machine is pushed to its limits, which can add warmth and character to the delay.

In conclusion, Tape delay is a type of delay that simulates the sound of a tape-based delay machine. Tape delay can be used in a variety of musical contexts, from adding subtle ambiance to a mix to creating long, swirling delays. It can be particularly useful for adding warmth and character to vocals and guitar tracks, as well as for creating interesting rhythmic patterns. Tape delay can also be noisy and difficult to control, which can be a drawback for some users. The various parameter settings of Tape delay can be used to achieve the desired results, creating a unique and vintage feel to the audio.

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Slapback Delay

Slapback delay is a type of delay effect that creates a short, repetitive echo. It is often used in rock and roll and country music to create a sense of space and depth in the mix.

Settings:

The main setting for slapback delay is the delay time, which controls the length of time between the original sound and the first repeat. This is typically set to between 80-150 milliseconds. The feedback setting controls the number of repeats, and is typically set to a low value (around 1-2 repeats). The mix setting controls the balance between the dry (unaffected) sound and the delayed sound.

Use Cases:

Slapback delay is often used to add a sense of space and depth to vocals and lead instruments, such as guitar and piano. It can also be used to create a sense of movement in a mix, by panning the delayed sound to a different position than the original sound.

Pros

• Creates a sense of space and depth in a mix
• Can add movement to a mix
• Can be used to enhance the presence of vocals and lead instruments

Cons

• If the delay time is set too long or the feedback is set too high, the delay can become overwhelming and muddy the mix
• Can create phasing issues if used in excess

Various Parameter Settings:

• Delay time: 80-150 milliseconds
• Feedback: 1-2 repeats
• Mix: balance between dry and delayed sound
• Panning: stereo effect by panning the delayed sound to a different position than the original sound
• Modulation: Some plugins allow for modulation of the delay time, which can add movement and interest to the delay effect.

Overall, slapback delay is a versatile and effective effect that can add a sense of space and depth to a mix. However, care should be taken to avoid using too much delay or feedback, as this can muddy the mix and create phasing issues. Experimenting with the various parameter settings, such as delay time, feedback, and mix, can help you achieve the desired effect in your music production.

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Haas Effect

The Haas effect, also known as the "precedence effect," is a psychoacoustic phenomenon that occurs when two or more sound sources arrive at the listener's ears at slightly different times. It is named after Helmut Haas, who first described the effect in the 1950s.

Settings:

The Haas effect is triggered by a delay of around 20-40 milliseconds between sound sources, and is most noticeable when the sound sources are similar in timbre and level. The greater the difference in arrival time, the greater the perceived difference in the location of the sound sources.

Use Cases:

The Haas effect is often used in audio production and sound design to create a sense of depth and space in a mix, by delaying one channel of a stereo signal. It can also be used to create the illusion of sound sources coming from different locations in a surround sound mix.

Pros

• Can create a sense of depth and space in a mix
• Can be used to create the illusion of sound sources coming from different locations
• Can enhance the intelligibility of speech in a mix

Cons

• If the delay time is set too long, the Haas effect will no longer be perceived and the sound will be perceived as a single, delayed source.
• Can create phasing issues if not used carefully

Various Parameter Settings:

• Delay time: 20-40 milliseconds
• Mix: balance between dry and delayed sound
• Panning: stereo effect by panning the delayed sound to a different position than the original sound
• Level: The level of the delayed sound source should be similar to the original sound source to achieve the Haas effect
• Timbre: The timbre of the delayed sound source should be similar to the original sound source to achieve the Haas effect.

In summary, the Haas effect is a powerful tool for creating a sense of depth and space in a mix. It is triggered by a delay of around 20-40 milliseconds between sound sources, and is most effective when the sound sources are similar in timbre and level. However, care should be taken to avoid using too much delay, as this can create phasing issues and the sound will be perceived as a single, delayed source. Experimenting with the various parameter settings, such as delay time, mix, panning, level, and timbre, can help you achieve the desired effect in your music production.

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Delay Vsts:

These Delay plugins are in no particular order, but there should be enough there to get you more than started.

• "TAL-Dub-X" (TAL-Software): A delay plugin with a dub style feedback and a filter to shape the sound. It also has a ping-pong mode and can sync to the host tempo.
• "ValhallaDelay" (Valhalla DSP): A plugin that provides a wide range of delay effects, including vintage tape and analog delays, as well as modern digital delays. It also has a stereo spreading feature and a modulation section.
• "TAL-Echo-II" (TAL-Software): A delay plugin that emulates the Roland RE-201 Space Echo. It features three playback heads and a spring reverb emulation.
• "Dubstation 2" (Audio Damage): A delay and chorus plugin that emulates the classic dub sound. It features a ping-pong mode and a unique filtering section.
• "EchoBoy" (Soundtoys): A delay plugin that offers a wide range of delay styles, including tape, analog, and digital delays. It also has a modulation section and a stereo widening feature.
• "Late Replies" (Blue Cat Audio): A delay plugin that allows you to create complex delay patterns with multiple delay lines. It also has a stereo width control and a feedback section.
• "Comeback Kid" (Baby Audio): A delay plugin that emulates the sound of vintage tape delays. It also has a stereo width control and a modulation section.
• "Delay Eternity" (Arturia): A delay plugin that offers a wide range of delay styles, including tape, analog, and digital delays. It also has a modulation section and a stereo widening feature.
• "Timeless 3" (FabFilter): A delay plugin that offers a wide range of delay styles, including tape, analog, and digital delays. It also has a modulation section and a stereo widening feature.
• "H3000 Band Delays" (Eventide): A delay plugin that emulates the band delays of the Eventide H3000 Harmonizer. It has a unique graphic interface and allows for precise delay time control.
• "H3000 Factory" (Eventide): A delay plugin that emulates the sound of the Eventide H3000 Harmonizer. It has a unique graphic interface and allows for precise delay time control.
• "Imperial Delay" (Boz Digital): A delay plugin that offers a wide range of delay styles, including tape, analog, and digital delays. It also has a modulation section and a stereo widening feature.
• "Octavox" (Eventide): A delay plugin that creates harmonies based on the input signal. It has a unique graphic interface and allows for precise delay time control.
• "Repeater" (D16) - A delay plugin that offers a wide range of delay modes, including tape, analog, and digital, as well as modulation, filtering and stereo options.
• "Tekturon" (D16) - A delay plugin that offers a wide range of delay modes, including tape, analog, and digital, as well as modulation, filtering and stereo options.
• "Replika XT" (Native Instruments) - A delay plugin that offers a wide range of delay modes, including tape, analog, and digital, as well as modulation, filtering and stereo options.
• "ColourCopy" (U-he) - A delay plugin that offers a wide range of delay modes, including tape, analog, and digital, as well
• "Relayer" (UVI) - A delay plugin that offers a wide range of delay modes, including tape, analog, and digital, as well as modulation, filtering and stereo options.

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Reverb Types

Reverb is an essential effect in music production, used to simulate the natural reflections of sound in a physical space. There are several different types of reverb, each with its own unique characteristics and uses. In this article, we will explore the different types of reverb, including Hall Reverb, Chamber Reverb, Plate Reverb, Room Reverb, Spring Reverb, Algorithmic Reverb, Convolution Reverb, Shimmer Reverb, and Non-Linear Reverb. We will also discuss the various parameter settings for each type of reverb, as well as popular VST (virtual studio technology) reverb plugins for each type.

Hall Reverb:

Hall reverb is a type of reverb that simulates the sound of a large concert hall or cathedral. It creates a sense of spaciousness and distance, and is often used for adding a sense of grandeur and scale to orchestral and choral music. The settings for hall reverb include the reverb time, damping, pre-delay, and early reflection level. The reverb time controls the duration of the reverb tail, damping controls the frequency decay, pre-delay adds a delay before the onset of the reverb, and early reflection level controls the level of the initial reflections.

Settings:

The settings on a hall reverb typically include parameters such as room size, decay time, and damping. Room size controls the overall size of the hall, decay time controls how long the reverb tail lasts, and damping controls the amount of high-frequency damping in the reverb tail.

Use Cases:

Hall reverb is often used in classical music, orchestras, and other genres that require a large and spacious sound. It can also be used to add a sense of grandeur to vocals, drums, and other instruments.

Pros:

• Can add a sense of grandeur and scale to music
• Great for adding depth to orchestral and choral music

Cons:

• Can sound artificial if not used correctly
• Can muddy the mix if overused

Popular VSTs:

• Free: u-he Protoverb, OrilRiver, Dragonfly Reverb, Verberate Basic by Acon Digital
• Budget-friendly: Valhallaroom by Valhalla DSP, Reverberate 3 or Illusion by Liquidsonics. MorphVerb. Morphverb may seem pricey may ssem pricey for the budget-friendly category, but it includes the following types of reverbs with a dial to easily blend between them: Spring. Ambience, Echoes, Room, Plate, Chamber, Hall, Cathedral, and Infinite. (Not to mention, they have sales.)
• Premium: EastWest Spaces, AudioEase Altiverb, Cinematic Rooms by Liquidsonics

Best instrument uses:

Orchestra, choir, grand piano, drums.

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Chamber Reverb:

Chamber reverb simulates the sound of a small, enclosed space such as a room or chamber. It creates a sense of intimacy and warmth and is often used for adding depth and character to vocals, drums, and other percussive instruments. The settings for chamber reverb include the reverb time, damping, pre-delay, and early reflection level. The reverb time controls the duration of the reverb tail, damping controls the frequency decay, pre-delay adds a delay before the onset of the reverb, and early reflection level controls the level of the initial reflections.

Settings:

The settings on a chamber reverb typically include parameters such as room size, decay time, and damping. Room size controls the overall size of the chamber, decay time controls how long the reverb tail lasts, and damping controls the amount of high-frequency damping in the reverb tail.

Use Cases:

Chamber reverb is often used in classical music, jazz, and other genres that require a natural and realistic reverb sound. It can also be used to add depth and dimension to vocals, drums, and other instruments.

Pros:

• Can add warmth and intimacy to vocals and drums
• Great for adding depth and character to percussive instruments

Cons:

• Can sound artificial if not used correctly
• Can muddy the mix if overused

Popular VSTs:

• Free: LePou IR Cabinet, OrilRiver, Dragonfly Reverb, Verberate Basic by Acon Digital
• Budget-friendly: AudioThing Room, Valhallaroom by Valhalla DSP, Reverberate 3, Perfect Room by Denise Audio
• Premium: SmartReverb (Sonible), Neoverb by Izotope. Both of these are powered by AI and can do more. Sunset Sound Studio Reverb (IKmultimedia), Fame Studio Reverb (IKmultimedia)Audio Ease Altiverb 7

Best instrument uses:

Vocals, drums, percussive instruments, guitar.

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Room Reverb:

Room reverb is a type of reverb that simulates the natural reverberation of sound in a room. It is often used to add a sense of space and realism to a mix. Room reverb can be used to create a sense of intimacy in a recording or to make a track sound as if it was recorded in a large concert hall.

Settings:

Some common settings for room reverb include decay time, which controls how long the reverb tail lasts, and early reflections, which control the level of the initial reflections that occur before the reverb tail.

Use Cases:

Room reverb is a versatile reverb that can be used in many different music genres. It can be used to add depth and space to a mix, making it sound more natural and realistic. Room reverb can also be used to create a sense of intimacy in a recording, making it sound as if the listener is in the room with the musicians.

Pros:

• Creates a sense of intimacy and warmth
• Room reverb can add a sense of realism and naturalness to a mix. Organic.
• Versatile and can be used in many different music genres

Cons:

• Room reverb can be difficult to control, making it hard to achieve a specific sound
• Can sound too artificial if not used correctly
• Can make a mix sound cluttered/muddy if used too much

Popular VSTs:

• Free version: TAL-Reverb-II, Protoverb by U-He, OrilRiver, Dragonfly Reverb, Verberate Basic by Acon Digital
• ValhallaRoom, Reverberate 3, Perfect Room by Denise Audio
• Premium version: Audio Ease Altiverb 7, Cinematic Rooms by Liquidsonics (This is what I'm using a lot of recently. They only have sales in the winter, and you get discounts if you have other products of theirs.).

Best instrument uses:

Room reverb is best suited for vocals, drums, and acoustical instruments such as guitar, piano, and trumpet.

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Plate Reverb:

Plate reverb simulates the sound of a large metal plate that is vibrated by a transducer. It creates a sense of brightness and clarity, and is often used for adding a sense of space to vocals and instruments. The settings for plate reverb include the reverb time, damping, pre-delay, and early reflection level. The reverb time controls the duration of the reverb tail, damping controls the frequency decay, pre-delay adds a delay before the onset of the reverb, and early reflection level controls the level of the initial reflections.

Settings:

• Decay: This controls how long the reverb lasts. A longer decay time will result in a longer reverb tail.
• Damping: This controls the high-frequency content of the reverb. Lowering the damping will result in a brighter reverb, while increasing it will result in a darker reverb.
• Pre-Delay: This controls the amount of time between the dry sound and the onset of the reverb.
• Mix: This controls the balance between the dry and wet signals.

Use Cases:

• Plate reverb is often used to create a sense of space in a mix, and it is particularly useful for vocals and drums.
• It can also be used to add depth and dimension to a mix, and it can be used to create a sense of distance between instruments.

Pros:

• Can add brightness and clarity to vocals and instruments
• Great for adding a sense of space to vocals and instruments

Cons:

• Can sound artificial if not used correctly
• Can muddy the mix if overused

Popular VSTs:

• Free: SIR2, TAL-Reverb-4, Dragonfly Reverb, Verberate Basic by Acon Digital
• Budget-friendly: AudioThing Plate, ValhallaPlate, Little Plate (soundtoys), Perfect Plate by Denise Audio
• Premium: UVI Plate, Lustrous Plates (Liquidsonics), Sunset Sound Studio Reverb (IKmultimedia), Fame Studio Reverb (IKmultimedia), PSP 2445 EMT, Perfect Plate XL by Denise Audio

Best instrument uses:

Vocals, drums, percussive instruments, guitar.

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Spring Reverb:

Spring reverb is a type of reverb that uses a mechanical spring to create the reverb effect. It is known for its distinct, metallic sound and is often used in guitar amplifiers. The spring reverb has a relatively short decay time, usually less than 2 seconds, and a high-frequency damping, which results in a more "twangy" sound. The main parameters that can be adjusted in a spring reverb include the level of the wet signal, the damping, and the time of the decay.

Settings:

Some common settings for spring reverb include the number of springs used, the decay time, and the tone of the reverb.

Use Cases:

Spring reverb is often used in rock, blues, and country music to add a sense of warmth and vintage character to a mix. It can also be used to add a sense of space and depth to a mix.

Pros:

• Spring reverb can add a sense of warmth and vintage character to a mix
• Can be used to add a sense of space and depth to a mix
• Versatile and can be used in many different music genres

Cons:

• Spring reverb can be difficult to control, making it hard to achieve a specific sound
• Can make a mix sound muddy if not used correctly

Popular VSTs:

• Free: LeSpring by LePou
• Budget-friendly: AudioThing Springs, Fuse Audio Labs VREV-305, Twangström (U-he),
• Premium: Sunset Sound Studio Reverb (IKmultimedia), Spring (Eventide), PSP Nexcellence, Spring Reverb (Softube), Rev Spring 636 by Arturia

Best instrument uses:

Spring reverb is best suited for electric guitar, bass, and keyboard instruments but can also be used to add some character to vocals or drums.

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Non-Linear Reverb:

Non-linear reverb is a type of reverb that uses granular synthesis to create a reverb tail. This means that it takes small slices of the original sound and rearranges them in a randomized way to create the reverb tail. This can create a variety of unique and unpredictable sounds, from subtle variations on traditional reverb sounds to more experimental and abstract textures.

Settings:

• Grain Size: The size of the slices of sound used in the granular synthesis.
• Density: The number of slices of sound used in the granular synthesis.
• Pitch Shift: The amount of pitch shift applied to the slices of sound.
• Dry/Wet Mix: The balance between the dry, unprocessed sound and the wet, reverberant sound.

Use Cases:

• Non-linear reverb can be used to add a sense of movement and evolution to a sound, such as a vocal or guitar.
• It can also be used to create a sense of otherworldly or ethereal textures, such as in ambient or experimental music.

Pros:

• Can add a unique and creative element to a sound.
• Can create a sense of movement and evolution.

Cons:

• Can be too pronounced or chaotic for certain types of music.

Popular VSTs:

• Free: MVerb
• Budget-Friendly: Valhalla Vintage Verb (has a nonlin algorithm)
• Premium: Seventh Heaven (LiquidSonics)

Best instrument uses:

Drums, Guitars, Pianos

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Shimmer Reverb:

Shimmer reverb is a unique and modern type of reverb that adds a pitch-shifted copy of the original sound to the reverb tail. This creates a harmonically rich and otherworldly sound that can be used for a variety of creative effects. In other words, it creates a "shimmering," or chorusing effect, making the reverb sound larger and more complex. The pitch shift can be set to a specific interval, such as a fifth or octave, or can be set to a random interval for a more unpredictable and chaotic sound. This type of reverb is often used to create a sense of space and depth in a mix, as well as to add a sense of movement and interest to a sound.

Settings:

• Pitch Shift: The interval of the pitch shift applied to the reverb tail.
• Reverb Time: The length of the reverb tail.
• Dry/Wet Mix: The balance between the dry, unprocessed sound and the wet, reverberant sound.

Use Cases:

• Shimmer reverb can be used to add a sense of spaciousness and movement to a sound, such as a vocal or guitar.
• It can also be used to create a sense of otherworldly or ethereal textures, such as in ambient or experimental music.

Pros:

• Can add a unique and creative element to a sound.
• Can create a sense of movement and spaciousness.

Cons:

• Can be too pronounced or chaotic for certain types of music.

Popular VSTs:

• Tal Reverb 4 and Valhalla Supermassive (neither are technically a shimmer reverb, but as close as possible for free.)
• Budget-Friendly: Valhalla Shimmer, BLEASS Shimmer, Irid – Shimmer Reverb by Tritik (I'm seeing A LOT of love for Irid. Some prefer it over Valhalla), XenoVerb Reverb by Audiority (my favorite shimmer right now. It also has other algorithms)
• Premium:Eventide Shimmer, Eventide Blackhole (not technically a shimmer reverb, but it is a creative reverb that is sometimes included in this area of reverbs.)

Best instrument uses:

Vocals, Guitars, Pianos

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Convolution Reverb:

Convolution reverb is a type of reverb that uses impulse responses (IRs) to create the reverb effect. An impulse response is a recording of the impulse of a sound in a specific space, such as a concert hall or a bathroom. This recording is then applied to a sound in a DAW, creating the reverb effect of that specific space. Convolution reverbs offer a very realistic and accurate reverb sound, as they are based on actual recordings of real spaces. They also offer a wide range of different spaces to choose from, including churches, concert halls, and even cathedrals.

Settings:

• IR selection: allows you to choose from a library of impulse responses.
• Wet/dry mix: controls the balance between the dry sound and the reverb.
• Pre-delay: controls the amount of time between the dry sound and the onset of the reverb.
• EQ: allows you to adjust the frequency response of the reverb.

Use cases:

Convolution reverb is often used in music production and post-production to create realistic and accurate reverb effects. It is also commonly used in sound design to create unique and otherworldly sounds.

Pros:

• Realistic and accurate sound
• Can create unique and otherworldly sounds
• Can be used in a variety of applications

Cons:

• Can be computationally intensive
• Can be expensive
• IRs may not be available for all spaces or may be an additional cost.

Popular VSTs:

• Free: SIR by Christian Knufinke, Teufelsberg by Balance Mastering, Convology XT
• Budget-friendly: Impulse Modeler by AudioThing, Reverberate 3 by Liquidsonics (look into this one if you have impulse responses you want to use!), Fog Convolver 2 Reverb by AudioThing
• Premium: Altiverb by Audio Ease, IQ-Series Reverb V2 by HOFA (This one seems amazing!)

Best instrument uses:

Convolution reverb is great for adding a sense of space to a mix, and can be used on a wide range of instruments and vocals. It is particularly useful for adding a realistic sense of space to orchestral recordings.

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Algorithmic Reverb:

Algorithmic Reverb, also known as digital reverb, is a type of reverb that is created using mathematical algorithms. It is a software-based reverb that is commonly used in digital audio workstations (DAWs) and is known for its flexibility and precision.

Settings

Algorithmic reverb typically includes a variety of settings that allow users to control the size and shape of the virtual space, as well as the decay time and early reflections. Some of the most common settings include:

• Room Size: This controls the overall size of the virtual space, with larger sizes resulting in a longer decay time.
• Decay Time: This controls the length of time it takes for the reverb to decay, or fade away.
• Early Reflections: This controls the level of the initial reflections, or the sound that bounces off the walls before the main reverb sound.
• Damping: This controls the high-frequency damping, or the amount of high-frequency energy absorbed by the virtual space.

Use Cases

Algorithmic reverb is a versatile type of reverb that can be used in a variety of different contexts. It is often used to create a sense of space in a mix, to add depth and dimension to a sound, or to simulate a specific type of space such as a concert hall or a small room. Some popular use cases include:

• Adding a sense of space to a mix: Algorithmic reverb can be used to create a sense of space and depth in a mix, making it sound more natural and realistic.
• Simulating specific spaces: Algorithmic reverb can be used to simulate specific types of spaces, such as a concert hall or a small room. This can be useful for creating a specific atmosphere or mood in a piece of music.
• Enhancing the realism of virtual instruments: Algorithmic reverb can be used to enhance the realism of virtual instruments, such as synthesizers or sample libraries.

Pros:

• Flexibility: Algorithmic reverb is known for its flexibility, as it allows users to create a wide range of different reverb sounds and settings.
• Precision: Algorithmic reverb is also known for its precision, as it allows users to control the size, shape, and decay time of the virtual space with great accuracy.
• Memory efficiency: Algorithmic reverb is more memory efficient than convolution reverb, meaning it doesn't require a large amount of memory to run.

Cons:

• Limited by algorithm: Algorithmic reverb is limited by the algorithms used to create it, meaning it can't replicate the sound of a real space as accurately as convolution reverb.
• Can sound artificial: Algorithmic reverb can sometimes sound artificial, especially when used in excess or with the wrong settings

Popular VSTs:

• Many of the previously listed Reverb VSTs are algorithmic. It's how they create the sound. It's calculated using an algorithm differing from a convolution reverb which uses small samples of recorded sound.

Best instrument uses:

Algorithmic reverb is a versatile type of reverb that can be used with a wide range of different instruments.

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The Delay & Reverb Time Calculator can be a useful tool for adding subtle enhancements to individual instruments with delay or reverb. It can help glue instruments together with the beat of your track and create depth and interest while preserving the groove of your song. However, it's important to remember that music is an art and each song requires a different approach. Always use your ears to evaluate your adjustments and remember that the delay times suggested by the calculator may not always be the best choice. Ultimately, the most important thing is that your song sounds good. Don't be afraid to get creative and experiment with different ways of using the delay times.

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