Delay and reverb: the space around the sound
Both effects are made of copies. A delay's copies you can count; a reverb's you cannot — that is the whole difference.
Everything so far shaped the sound itself. This lesson shapes the space around it — and the trick is that both of its tools are built from the same raw material: copies of the input, played late. The only real difference between a delay and a reverb is whether your ear can separate the copies.
One knob comes before all the others: wet is the volume of the effect's own output, sitting next to the untouched dry signal. Wet at zero means the effect is running but completely inaudible — every other knob will feel dead, because you are adjusting an echo you cannot hear. So the first move on any effect, always: raise the wet until the effect appears, then shape it.
Delay: copies you can count
A delay is an echo machine with two knobs that mean exactly what they say. Time is how long after the note its echo arrives — short, and the echo hugs the note like a bounce off a nearby wall; long, and it answers a beat later from across the canyon. Feedback is how many times the echo repeats, each pass a little quieter. That is the entire machine. (Push feedback near the top and the repeats stop dying away — the classic dub take-off.)
Reverb: copies too dense to count
Clap once in a stairwell: thousands of reflections arrive so fast and so dense that they fuse into a single tail. That is reverb — statistically many delays, none individually audible. Its master control is decay: how long the tail takes to die, which your ear reads as how big and how soft-walled the room is. Short decay: a booth. Long: a cathedral. A reverb does not decorate the sound so much as declare where it lives.
A pluck sounds every ~1.7 s, with silence after it — that gap is where the effects live. Work one effect at a time: zero the reverb wet, raise the delay wet, and drag time left/right — hear the echo hug the note, then answer late; raise feedback and count the extra repeats. Then zero the delay wet, raise the reverb wet, and drag decay — the room grows from booth to cathedral. Only then mix both.
On the Digi-series boxes these are send effects: DELAY and REVERB live on their own pattern-level pages, and each track chooses how much to send from its AMP page (DEL/REV). Tonverk goes a step further — delays and reverbs are swappable FX machines on the send tracks, including three different reverb algorithms: