You want a big Pre Delay because not only does it make the reverb sound longer and bigger, but it doesn’t muddy up the vocals. I know Jaycen Joshua who is known for creating that signature big reverb sound for Swae Lee mentioned on Pensados Place that the trick to getting a reverb like that is Pre Delay. This creates way more space to fit such a big reverb like it has. One thing you need to take notice of is, comparing sunflower to other mixes, it’s much quieter and has far more dynamic rage than its competitors. Any additional input would be much appreciated. Which is something I also do a lot of.Thanks for these different approaches, I will definitely try these methods! I attached a song I am currently working on and trying to achieve the sound. This record also sounds like the reverb is also likely low passed. Like most things in record-making there are others ways to arrive at basically the same sound. This softens the sound before the plate kicks in. But then I will send just a touch of signal straight to the plate.
Send to the delay and send ALL the delay to the plate. The other most common way is to set up the plate and delay on separate returns. Often it's just a plate reverb and I add a delay plugin after it 100% wet just to create a predelay (you could do this within the reverb plugin most likely, but I never do it that way because I find it clunky and often I wind up wanting to do things to that delay).
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