To me, adding R to D or D to R in the same chain makes zero sense, bc adjusting the R affects the D and adjusting the D affects the R. I'd prefer to adjust them separately and precisely without them interfering with each other. To do that, I use sends, which puts them on parallel chains that are recombined after the fact. That way adjusting one will not affect the other, meaning you can be precise about adjusting either without them interfering with each other. I typically then add sends to the D and send that to the R as well, which is a 3rd independent path, again so that can be adjusted separately without one adjustment affecting any other adjustment. To make a reverberant space sound natural, delays must have some amount of reverb that corresponds to the reverb on the main signal. This gives precise control unavailable to having them in the same path. Having R and D in the same non-parallel path is like trying to eat soup with a fork. Predelay? Sure. But I see no advantage of predelay on a delay. The idea of predelay is either to simulate that a reverb will not begin until the earliest reflections happen (which is why I combine 3 reverbs, a room reverb, a plate reverb and a hall reverb, and adjust for combinations of those three send amounts per instrument), or to prevent the reverb from smearing the attack, or both. Simulating that a reverb will happen only after the attack is a natural way that time and reflection work together, and not smearing the attack adds clarity, so predelay on reverb achieves both goals. I also set the predelay directly in the reverbs based on the BPM, meaning the little slap that happens due to predelay will happen rhythmically, in time, and not out of time. I also ramp it up a bit to minimize that slap, and I roll 10k and 600 off at 6 dB per octave which gives more glue (midrange) to the reverb, which is what you want, with less rumble and wash, which is what you don't want. I also use mid-side EQ to push 600 to 2k in the reverb slightly to the right and left leaving the center more open for the lead instruments, kick, and bass, and I sidechannel the reverbs based on the lead instrument so that can be more prominent within the mix without having to be turned up all that far. But predelay on delay? I don't see how that could be of any use at all.
To me, adding R to D or D to R in the same chain makes zero sense, bc adjusting the R affects the D and adjusting the D affects the R. I'd prefer to adjust them separately and precisely without them interfering with each other.
To do that, I use sends, which puts them on parallel chains that are recombined after the fact. That way adjusting one will not affect the other, meaning you can be precise about adjusting either without them interfering with each other.
I typically then add sends to the D and send that to the R as well, which is a 3rd independent path, again so that can be adjusted separately without one adjustment affecting any other adjustment. To make a reverberant space sound natural, delays must have some amount of reverb that corresponds to the reverb on the main signal.
This gives precise control unavailable to having them in the same path. Having R and D in the same non-parallel path is like trying to eat soup with a fork.
Predelay? Sure. But I see no advantage of predelay on a delay. The idea of predelay is either to simulate that a reverb will not begin until the earliest reflections happen (which is why I combine 3 reverbs, a room reverb, a plate reverb and a hall reverb, and adjust for combinations of those three send amounts per instrument), or to prevent the reverb from smearing the attack, or both. Simulating that a reverb will happen only after the attack is a natural way that time and reflection work together, and not smearing the attack adds clarity, so predelay on reverb achieves both goals.
I also set the predelay directly in the reverbs based on the BPM, meaning the little slap that happens due to predelay will happen rhythmically, in time, and not out of time. I also ramp it up a bit to minimize that slap, and I roll 10k and 600 off at 6 dB per octave which gives more glue (midrange) to the reverb, which is what you want, with less rumble and wash, which is what you don't want.
I also use mid-side EQ to push 600 to 2k in the reverb slightly to the right and left leaving the center more open for the lead instruments, kick, and bass, and I sidechannel the reverbs based on the lead instrument so that can be more prominent within the mix without having to be turned up all that far.
But predelay on delay? I don't see how that could be of any use at all.
Thank you so much!