In our exploration, we will utilize the ProTools AIR Reverb plugin. While all reverbs have their unique characteristics, we will focus on the elements that are generally consistent across different plugins. Let's start by dragging the AIR Reverb plugin onto our track. ## Reverb Time The reverb time setting can create the most dramatic difference in sound, especially for someone who is just starting out. I like to draw analogies between reverb and delays, with reverb representing many delays. Think of the reverb time as similar to the feedback amount of a delay. It dictates how long the reverberation lasts. If you accidentally set this amount too high and want the reverb to quiet down, just lower the reverb time to 0 and it will stop, much like adjusting the feedback parameter of a delay. This setting is often expressed as a T60 term, which indicates how long it takes for the sound to become 60 decibels quieter. ![[D Verb - Reverb Time.mp4]] ## Room Size The room size setting in reverb does exactly what it suggests: it dictates the perceived size of the room. If the room size is set to be very small, the delays will be super closely spaced apart, almost like there is high feedback with a fast delay time. This can make the sound highly resonant, much like a plate reverb, as the sound energy has little space to dissipate. Conversely, a large room size will create a very spacious sound, much like the acoustics of a cathedral, where the sound waves have plenty of room to travel and spread out, creating a grand, expansive reverberation. ![[D Verb - Room Size.mp4]] ## Filter The filter can have a dramatic effect on the reverberant quality of the sound. The AIR Reverb offers several functions to shape the sound using filters, but an easy one to start with is the Cut section within the High Frequencies section of the interface. As you move the knob to the left, you cut more and more of the higher frequencies, making the sound darker. If the audio is longer (and not a short sound in isolation), a great way to hear changes in reverb like this is by pausing the sound so you can really hear how the tail end of the reverb is affected. This helps you understand how the filter modifies the reverb and the overall tonal quality. ![[D Verb - Filter.mp4]] ## Early Reflections vs Later Reflections Many reverb plugins algorithmically model early reflections differently than later reflections. Early reflections provide more details about the spatial qualities of the room, while the later reflections contribute to the overall wetness of the sound. The way these parameters are expressed on a reverb interface varies from one plugin to another. On the interface of the AIR Reverb plugin, you can see a knob that changes the proportion of early to late reflections.  Try adjusting this knob and listen to the difference. What do you hear? When you increase the early reflections, you might notice a clearer sense of space and definition in the reverb, giving you a better idea of the room's size and shape. Increasing the late reflections will generally make the reverb sound more lush and prolonged, enhancing the sense of immersion and wetness in the sound. ![[D Verb - Early Reflections vs Later Reflections.mp4]] ## Dry/Wet  One of the most effective strategies to employ is to use the Dry/Wet control on a reverb interface, which appears as the "Mix" parameter within the AIR Reverb interface. A common approach is to set the reverb to a very intense level (high reverb time) and then lower the overall level of the reverb using the Mix parameter. This way, you can benefit from the rich quality of the reverb without it completely overpowering your sound. It follows the philosophy of everything in moderation, ensuring that the reverb enhances rather than dominates the audio. Amazingly, incredibly small numbers can work here. I often set the mix to as low as 3 percent in this workflow. The reverb is still audible, and it adds just the right amount of flavor. ![[D Verb - Dry Wet.mp4]] ## Pre-Delay If the reverb kicks in too quickly, it can often make the attack of your audio (such as the consonants in your speech) more indistinct. Adding a pre-delay can cause the reverb to take a little while to set in. This way, you get the reverberant quality you are looking for without sacrificing clarity. Some artists set the pre-delay to match the project tempo, so the delay sounds rhythmic. You can use a BPM to milliseconds calculator to find the appropriate pre-delay for this purpose. This technique ensures that the reverb complements the timing of the music, creating a more cohesive and polished sound. ![[D Verb - Pre Delay.mp4]]