Ducking is your friend…
How do you think the Edge would answer this question?
^^^ ThisGo with what suits you? I often find myself wishing I had finer adjustment between 1% and 2%, so…
A Lexicon rep taught me to think of reverb as placing a space within a space. Instantly became easier to judge how much was enough. I turn it to where it becomes noticeable and then back off a smidge.
I tend to prefer things much dryer than most for clarity of core tone. That said, I’ve been exploring wet dry wet lately and absolutely adoring higher levels of delay than I would use ordinarily.
Varies with approach to playing. The more intricate stuff masks the repeats. Kind of magic when gotten right. Smack the strings and one hears it, but play a part and it becomes that “halo” ideal.
^^^ This
Less than 12% reverb for me in any case. Actually, 10-12% is just when I am playing alone through my monitors. In all other cases it's about 8% or less. To be honest, usually when I record I just switch off the reverb.
About the delay, it really depends on the track/part.
Nice!My presets do around 8.6% of a VERY short "Large Wooden Room" reverb with the early reflections level raised and the late wash level dropped a bit, so I get the sense of size/space without a whole lot of actual wash of reverb. I dial it back to around 4.2% for leads, so they are a little more "in your face". It's a subtle "psychoacoustic" shift that mimics the sax or clarinet player stepping up a step or two closer to the one lone mic in front of a '40s/'50s big band for their solo, and pushing a little drier sound out there with the increased proximity to the mic....
A little bit of dropoff in highs in the delay also helps them sit "behind" the dry, as the dry sound being brighter guarantees it will mask the delays (instead of the other way 'round) when your delayed part coincides with something currently being played.
In a way, the "crappy old" analog delays do naturally what works nicely, where digital delays have to have a tone knob in there to roll off some of the highs, because the repeats are perfect digital copies of the original.
My presets do around 8.6% of a VERY short "Large Wooden Room" reverb with the early reflections level raised and the late wash level dropped a bit, so I get the sense of size/space without a whole lot of actual wash of reverb. I dial it back to around 4.2% for leads, so they are a little more "in your face". It's a subtle "psychoacoustic" shift that mimics the sax or clarinet player stepping up a step or two closer to the one lone mic in front of a '40s/'50s big band for their solo, and pushing a little drier sound out there with the increased proximity to the mic....
Along with exploring 80s rigs I’ve come to realize how the “crappy old” digital delays do a thing as well.
Funny how at the time I thought perfect reproduction was the thing.
OK, I am really getting old...
It's 7.5% when I am just playing alone, NOT 12%! It used to be 12% long time ago...here's what I use:
View attachment 137413
And for the OP, here's my delay settings on the one and only track I use it (that track really depends on delay):
View attachment 137412
Mind that I like my tone as pure as possible, even for leads so I am not a big fan of either reverb or delay for my everyday playing and recording...for "experimental" music and tracks, well, that's another story (especially the delay oscillation which I really love messing around with).