5. Space: reverb and delay
Reverb and delay on sends: how much to use, how to keep the vocal from drifting back, and why in metal delay usually pays off more than reverb.
A dry vocal sounds stuck to your face and separate from the band. Space integrates it, but what gives it distance can also push it back and cover the words. The goal is to notice it only when you take it away.
Always on a send
That way the dry vocal stays intact, you can send several tracks to the same space, and you compress or EQ the effect separately.
The reverb
The starting point
The delay
The starting point
- Time: synced to tempo, at 1/4 or 1/8.
- Repeats: 2 to 4.
- EQ after: the same as on the reverb.
- Level: lower than it seems. It should show in the gaps, not on top of the next phrase.
Which to use by style
- Rock: noticeable reverb and a discreet delay.
- Metal and dense mixes: more delay and less reverb. With guitars this full, a long tail adds mud; delay comes through in the gaps and keeps the voice close.
- Intimate verses: a little of everything, so the voice stays close.
- Choruses: a bit more space, automating it.
How much
Raise the send until you notice the effect with the whole band, and lower it a little. Then turn it off and back on: if you only realize it was there when you remove it, that’s the right amount.
Space adds the finish, but a well-balanced vocal with no effects already works. It gets sorted after the balance, and it isn't worth spending hours trying reverbs.
Common mistakes
What NOT to chase yet
Quick path: space
Quick path
- An effects channel for the reverb, 1.5 to 2.5 s, pre-delay of 20–40 ms.
- An effects channel for the delay, in tempo, 2 to 4 repeats.
- On both: high-pass at 200–300 Hz and low-pass at 6–8 kHz.
- Raise the sends until you notice them, and lower them a little.
- In metal, more delay and less reverb.
- Compare it against the reference, with the band playing.
Expected result
Expected result
The vocal is inside the song but still close. The words can be understood, and when you turn off the effects it suddenly sounds dry. All that’s left is giving it movement: automation and layers.