Cheat Sheet

Vocal Reverb and Delay Settings: A Practical Cheat Sheet

Stop guessing. These are the specific reverb and delay settings that work for every major genre, ready to dial in and adjust to taste.

The most common vocal reverb settings are: plate reverb with 1.2-1.8 second decay for pop and R&B, room reverb with 0.5-1.0 second decay for hip-hop and rock, and hall reverb with 2.0-3.5 second decay for ballads. For delay, use a 1/4 note delay at 15-25% wet for depth, or a 1/8 note delay at 10-20% wet for rhythmic vocals. Always high-pass filter your reverb and delay returns above 200-300Hz to prevent muddiness.

This guide is part of our mixing fundamentals series. For the complete vocal signal chain including EQ and compression order, see our vocal mixing chain guide.

Reverb Types for Vocals

Not all reverb is the same. The three reverb types used most frequently on vocals are plate, room, and hall. Each creates a different spatial character, and choosing the right one depends on the genre, tempo, and emotional tone of the song.

Plate Reverb

Plate reverb simulates a large metal plate that vibrates to create reflections. It produces a smooth, dense, and bright reverb tail that sits beautifully behind vocals without competing for space. Plate is the most popular choice for pop, R&B, soul, and modern production because it adds polish and shimmer without making the vocal sound distant.

Room Reverb

Room reverb simulates a physical room, from a tight vocal booth to a medium studio space. It creates early reflections that add a sense of physical space without a long tail. Room reverb is ideal for hip-hop, rock, punk, and any genre where you want the vocal to sound present and upfront but not completely dry.

Hall Reverb

Hall reverb simulates a large concert hall or cathedral. It produces a long, expansive tail that creates a sense of grandeur and emotional depth. Hall reverb works best on ballads, orchestral arrangements, gospel, and any song where the vocal needs to feel big and emotional. Use it sparingly in dense mixes because the long tail can quickly create muddiness.

Vocal Reverb Settings by Genre

GenreReverb TypeDecay TimePre-DelayWet Level
PopPlate1.2-1.8s20-40ms15-25%
R&B / SoulPlate1.5-2.0s30-50ms20-30%
Hip-Hop / RapRoom0.5-1.0s10-20ms10-15%
Rock / AlternativeRoom or Plate0.8-1.5s15-30ms15-20%
Ballad / Slow SongsHall2.0-3.5s40-60ms20-35%
Country / FolkRoom or Plate1.0-1.5s20-40ms15-20%
EDM / DancePlate (short)0.8-1.2s15-25ms10-20%

These are starting points. Adjust decay time and wet level by ear based on the tempo and density of your specific arrangement.

Vocal Delay Settings by Genre

Delay adds depth and rhythmic interest to vocals without the sustained tail of reverb. It creates a sense of space by repeating the signal at timed intervals. Delay is often used alongside reverb, with the delay providing rhythmic depth and the reverb providing ambient space.

GenreDelay TimeFeedbackWet LevelNotes
Pop1/4 note20-30%15-25%Adds depth without clutter
Hip-Hop / Rap1/8 note15-25%10-20%Subtle, keeps vocal upfront
Rock1/4 note20-35%15-25%Classic slapback feel
Ballad1/4 or dotted 1/825-40%20-30%Longer tail for emotional depth
Country1/4 note (slapback)10-20%10-20%Traditional single repeat
EDM / Dance1/8 or dotted 1/820-30%15-25%Rhythmic, synced to tempo

Essential Processing on Reverb and Delay Returns

Raw reverb and delay returns often introduce muddiness and harshness into the mix. Processing the returns with EQ is just as important as choosing the right settings. Apply these three treatments to every reverb and delay return.

  • High-pass filter at 200-300Hz: This prevents low-frequency reverb tails from building up and muddying the mix. Reverb below 200Hz rarely adds anything useful and almost always creates problems.
  • Low-pass filter at 8-12kHz: This tames harsh high-frequency sibilance in the reverb tail. Without this filter, the reverb can sound brittle and metallic, especially on vocals with prominent S and T sounds.
  • De-esser on the send (optional): If sibilance in the reverb is still problematic after filtering, place a de-esser on the reverb send so that harsh consonants are reduced before they enter the reverb. This prevents the reverb from amplifying and sustaining sibilant frequencies.

How Pre-Delay Affects Vocal Clarity

Pre-delay is the gap between the dry vocal and the onset of the reverb. A short pre-delay (5-15ms) makes the reverb feel attached to the vocal, creating an intimate sound. A longer pre-delay (30-60ms) creates a noticeable gap that lets the dry vocal speak clearly before the reverb fills in behind it.

For most modern mixing, a pre-delay of 20-50ms is the sweet spot. This preserves the clarity and intelligibility of the vocal while still allowing the reverb to create a sense of space. In fast-tempo songs, use shorter pre-delay to keep the reverb tight. In slow ballads, longer pre-delay adds drama and emotional space. If the vocal sounds washy or buried, increase the pre-delay before reducing the reverb level. Often the pre-delay is the problem, not the amount of reverb.

Combining Reverb and Delay on Vocals

Most professional vocal mixes use both reverb and delay simultaneously. The reverb provides ambient space and the delay provides rhythmic depth. The key is to use them at levels where neither dominates. A common approach is to set the delay as the primary spatial effect (providing noticeable depth) and the reverb as a subtle bed underneath (providing ambient character).

Route both effects on separate aux sends so you can control the level of each independently. Start with the vocal completely dry. Add delay first until the vocal has depth and movement. Then add reverb until the vocal feels like it lives in a space rather than floating in isolation. Check in mono to ensure neither effect is creating phase issues.

For automated control, AI mixing platforms can analyze your vocal and apply genre-appropriate reverb and delay settings automatically, including the EQ processing on returns that prevents muddiness.

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