I'm sure this has been discussed in one form or another......but I'm trying to collect data on the types of settings for reverb and delay.....EG: plate room spring
types and the pros and cons of each..

Delay...types... 1 2 or 3 repeats.... milisecs and so forth.

For the beguiners it might be helpful..
Also... the order in which these effects occur.
EG : if you use comp or chorus ect.....
and if the order really matters....
Thanks

I can only answer from my own taste/experience, but I do a lot of this stuff for a living, with lots of instruments and vocals as well. The order does matter because each effect builds on the previous ones. The basic setup is as follows:

(1) Pre-amplifier, generally with your EQ (tone control) - whether this is included in a guitar amp or in my case a dedicated 4-band parametric EQ. From this we go to a

(2) Compressor - not everybody likes to use them but I find them very helpful, both in controlling my own sloppy moments (ever hit that a couple strings a little too hard? Ouch! ...or is this just me...) and for helping increase available sustain. Now that we have tone and dynamics under control we feed the signal to our

(3) Delay - there are a number of distinct effects available from the use of delay. The basics are:
Flanging - 0.5ms to 3.0ms with a bunch of feedback and modulation (sweeping of the delay time)
Chorusing - 13ms to 20ms with a little bit less feedback and modulation
Doubling - 25ms - 60ms with minimal feedback and modulation
Slapback - distinct echoes begin to be detected between 60ms and 90ms. Too much feedback will not be a pleasant sensation at this length of delay, so give it just enough to where it is pleasing
Echo - after about 140ms one begins to get the true echo sound and you can stretch it out as long as you like from there. Enough feedback for two to five repeats is plenty. A touch of modulation can increase the richness of the sound but can get out of hand with a lot of detuning artifacts getting in the way of the music. I tend to program several delays on my old Roland SDE2500 or newer TC D-Two - 13ms chorus, 28ms double, 190ms slapback, 308, 420 and 550ms echoes are the main ones for me, right now at least.
Once wehave set up the delay that we like we can patch our signal to the

(4) Reverb - There are so many reverb units available and all of them have different control schemes. For years I used an old Fender tube reverb tank, then later Lexicon's PCM60 and PCM70. I have also played with a Klark-Teknik DN780, Yamaha SPX90, TC M-One and an Eventide H3000D/SE Ultra Harmonizer. My favorite so far (and current security blanket) is the Yamaha REV7 "Strings" patch with the pre-delay (the amount of time before the reverb begins to kick in) set out to 100 ms to allow for maximum clarity of the original signal.

Bear in mind that with a good delay you may not need to use reverb at all and vice versa - I have done a lot of gigs with no delay, never with no reverb, but lots of great sounds can be obtained with no verb at all as a number of folks on the forum have chosen to do. The point is to experiment until you find a good scheme that suits your taste and style of playing.

Anyone with questions on this subject should feel free to drop me a line anytime for more detail.

Best

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Dave Grafe - email: dg@pdxaudio.com
PDX Audio
Music

1978 ShoBud Pro I E9, 1960 Les Paul (SG) Deluxe, 1963 Precision Bass, 1954 Gibson LGO, 1897 Washburn Hawaiian Steel Conversion

[This message was edited by Dave Grafe on 22 November 2004 at 01:28 PM.]

For concerts I use a PCM70 set on "Vocal Plate" with as much predelay and size as I can muster. I also use (sometimes together with the PCM70) a Lexicon MPX550 using the Rich Plate or Vocal Plate with 100-122 ms predelay, and the high cut on them both pretty low to get a warmer sound. And then for delay I use the Maxon.