KingsXJJ
Shredder
- Messages
- 1,705
During my rack phase and subsequent multi-fx and modeler years, I almost exclusively used delay in to reverb. I never really questioned it since for many of these years movable fx/blocks wasn’t a thing so I assumed that specific order was a studio/live standard thing. Likely for good reason. They were generally post gain and shaping.at the end of the chain (or in the fix loop of an amp or amp only modeler). So I just used that for crafting tones.
Now, movable blocks and effect routing is generally more available and flexible than ever. Also my tastes have changed and become more selective in what sort of reverbs and delays I prefer for my personal tones (not cover band tones or artist chasing tones).
Generally I use reverb to deliver a sense of physical presence. Call it amp in the room with “room” being variable somewhat but usually on the smaller size. The names change and might include room, plate, ambience or studio… but the usual use case is very similar creating the perception of physical proximity and also adding depth and “breathing” space for the cab. It’s generally on the low side of the mix being something closer to a thing you miss when you turn it off but otherwise it’s not overtly obvious and seems just like part of the sound. No long tails for sure.
For delays, I tend to prefer them as something that doesn’t get in the way of most rhythm playing but is a sweet, sweet sonic add for soloing. EVH does this well. I don’t consciously seek his exact tones but I do like and use some of his basic approaches with regard to delay times (roughly), feedback and mix. It’s more obvious than the reverb but still doesn’t cloak the core tones and playing dynamics used. Delay tone wise I tend to prefer variants described as digital, vintage digital, studio (reel-to-reel) and sometimes tape (low settings for mod, wear and flutter).
I could go on but the point is, given what I’ve laid out that each of these are tuned/designed to do to my tone… it seems like reverb in to delay would result in each of them retaining their individual contributions and tones and as a result work better together when used in that fashion. Complementary to each other (not that the opposite order can’t be) and with a better end result overall.
I’ll be doing more critical listening and tweaking to see how it goes and see if my understanding has legs. I wonder what others think or have tried in this arena and what sort of results came about.
Now, movable blocks and effect routing is generally more available and flexible than ever. Also my tastes have changed and become more selective in what sort of reverbs and delays I prefer for my personal tones (not cover band tones or artist chasing tones).
Generally I use reverb to deliver a sense of physical presence. Call it amp in the room with “room” being variable somewhat but usually on the smaller size. The names change and might include room, plate, ambience or studio… but the usual use case is very similar creating the perception of physical proximity and also adding depth and “breathing” space for the cab. It’s generally on the low side of the mix being something closer to a thing you miss when you turn it off but otherwise it’s not overtly obvious and seems just like part of the sound. No long tails for sure.
For delays, I tend to prefer them as something that doesn’t get in the way of most rhythm playing but is a sweet, sweet sonic add for soloing. EVH does this well. I don’t consciously seek his exact tones but I do like and use some of his basic approaches with regard to delay times (roughly), feedback and mix. It’s more obvious than the reverb but still doesn’t cloak the core tones and playing dynamics used. Delay tone wise I tend to prefer variants described as digital, vintage digital, studio (reel-to-reel) and sometimes tape (low settings for mod, wear and flutter).
I could go on but the point is, given what I’ve laid out that each of these are tuned/designed to do to my tone… it seems like reverb in to delay would result in each of them retaining their individual contributions and tones and as a result work better together when used in that fashion. Complementary to each other (not that the opposite order can’t be) and with a better end result overall.
I’ll be doing more critical listening and tweaking to see how it goes and see if my understanding has legs. I wonder what others think or have tried in this arena and what sort of results came about.
