Effects Sends Mixing: Routing Reverb and Delay Properly

Effects sends mixing routes signals to processors like reverbs and delays, allowing multiple sources to share effects while maintaining dry signal integrity. This parallel processing approach provides more control than inserting effects directly on channels.

Post-Fader Configuration

Effects sends typically operate post-fader. When the channel fader moves, the effect send moves with it. This linkage ensures effect amount tracks with dry signal level.

A vocal fading out should take its reverb tail with it. Post-fader sends accomplish this automatically. Pre-fader sends would leave reverb hanging after the dry signal disappears.

Verify aux sends used for effects are set to post-fader. Default settings vary between mixers and may need configuration.

Setting Up Effect Returns

Effect processor outputs return to the mixer through dedicated return channels or spare input channels. These return channels provide level control, EQ, and routing for the processed signal.

Stereo effects require stereo returns—two channels panned hard left and right. Many mixers include dedicated stereo return inputs; standard channels also work.

Return levels control how much effect appears in the mix. The balance between dry channels and effect returns determines the wet/dry ratio.

Reverb Send Configuration

Designate an aux bus for reverb. Common practice uses higher-numbered auxes for effects, preserving lower numbers for monitors.

Each channel’s send to the reverb aux determines its reverb amount. Vocals might send heavily; kick drum might send nothing.

The aux master controls overall send level to the reverb processor. Input level to the processor affects reverb density and character.

Reverb output returns through a return channel. This channel’s fader controls overall reverb presence in the mix.

Delay Send Configuration

A separate aux bus typically serves delay effects. Different effect types using different buses allows independent control.

Delay sends work similarly to reverb sends. Per-channel send levels determine which sources get delay and how much.

Tempo-synchronized delay needs correct time setting. Calculate or tap tempo to match the music.

Multiple delay effects (short slap, long rhythmic) require multiple aux buses or multi-effects processors.

Shared vs Dedicated Effects

Shared effects serve multiple sources through a single processor. Sending vocals, snare, and acoustic guitar to one reverb creates unified spatial character.

Dedicated effects serve individual sources requiring specific processing. The lead vocal might warrant its own reverb with unique settings.

Budget and complexity constraints determine the approach. Shared effects use fewer resources; dedicated effects provide more control.

Effect Return Processing

EQ on effect returns shapes the processed sound. High-pass filtering (200+ Hz) removes low-frequency reverb mud. Low-pass filtering (8-10 kHz) softens harsh reverb tails.

Compression on reverb returns can increase sustained reverb presence. This technique works for special effects but adds pumping if overused.

Routing options for returns determine where effects appear. Returns typically go to the main stereo bus; they might also feed subgroups or matrices.

Balancing Wet and Dry

The perceived effect amount comes from the balance between dry signal and effect return. More return equals wetter sound.

Effects should enhance without dominating. When the effect becomes more noticeable than the source, it is typically too loud.

A/B comparison with effects muted reveals their contribution. If muting the effect makes the mix sound better, reduce effect level.

Per-Song Adjustment

Different songs may benefit from different effect settings. Ballads might use more reverb; uptempo songs might use less.

Scene recall on digital mixers can store per-song effect configurations. Analog setups require manual adjustment between songs.

Subtle changes between songs maintain consistency. Drastic effect changes draw attention to the processing itself.

Common Mistakes

Sending bass and kick to reverb creates muddy low end. Low-frequency reverb obscures mix clarity. Avoid or filter heavily.

Too much effect level makes the mix sound washy. Start conservative and add only what actually improves the sound.

Pre-fader effect sends leave reverb and delay hanging when channels drop. Ensure effect sends are post-fader.

Effect returns not routed correctly send processed signal to wrong outputs or nowhere. Verify return routing during setup.

Monitoring Effects in Isolation

Soloing effect returns reveals what the processor is producing. This isolation helps identify if the effect sounds appropriate.

Listen to effects in context, not just isolation. An effect that sounds good solo might not fit the full mix.

Checking effect processor input levels ensures the processor receives appropriate signal. Too much causes distortion; too little adds noise.

Effect Send Level Management

Aux send levels should produce appropriate input to the processor without clipping. Watch processor input meters during loud passages.

Consistent send levels create predictable effect density. Dramatic send changes during performance cause uneven effect appearance.

The aux master provides global send level control. Reducing the master reduces all contributions to that effect proportionally.