"D-1"
Bingo!
BR – Right on the money. OP, you should just get a delay capable of delay times that match that of chorus or possibly even as short as a flanger's.
Here's a good explanation of the psychoacoustic effect of modulation's delay times of various such effects from [Invalid or Expired Link Removed], of particular note is the range of delay where the sound changes from seemingly "one event" to perceiving "two events" (30 milliseconds):
"The Haas Effect
One of the coolest things about the Flanger/Doubler is that it has a built-in doubling effect. To understand exactly what this is, we have to start at the beginning with the Haas Effect. The Haas Effect is a very useful psychoacoustic theory that states that a delay of 40 milliseconds or less (depending on which text book you read - sometimes it’s noted as 30 milliseconds) is not perceived as a distinct event. That means that if a delay on a snare drum was set to 50 milliseconds, you would hear two separate events - the initial snare hit, then the delay. But if you set the delay to less than 30 milliseconds, the two would blend together and you’d hear them both as a single event.
This is important because it means that a short delay of less than 30 milliseconds can be used to thicken a sound that seems a bit thin, or it can be used to “stereoize” a mono track by panning the dry track to one side and the delayed to the other. Regardless of how you use it, the Haas Effect is a very powerful, if sometimes overlooked tool in your mixing toolbox."
Useful
delay settings from SoS:
"Slap-Back Delay: 20-80mS delay, no feedback.
Tunnel Echo/Resonator:
2-10mS, feedback as high as possible without going unstable.
Tempo Delay:
60/bpm gives you the delay time of 1 bar in seconds. Divide this delay time by four to give you the delay time per quarter note.
Echo:
100-300mS with feedback. The higher the feedback level, the more repeat echoes.
Vibrato:
3-10mS, dry signal off, modulation rate 3-8Hz, depth set by ear.
Phasing:
3-10mS, mix control 50/50, modulation rate 3-8Hz, depth set by ear. Try Feedback Invert if you have it.
Flanging:
5-50mS, mix control 50/50, modulation rate 3-8Hz, depth set by ear. Increase feedback to make effect more dramatic. Try Feedback Invert if you have it.
Chorus:
30-100mS, mix control 50/50, modulation 3-8Hz, depth set by ear. Little or no feedback. Increasing feedback creates a rotary speaker effect."
PS: Another tidbit from SoS:
"• PHASE INVERT
And now that mysterious phase invert button or parameter that your unit may or may not have; the effect of this is most noticeable on effects that use a very short delay time, particularly flanging. By inverting the phase of the signal fed back to the input, it allows different harmonics to be accentuated by the filtering process, and so gives a choice of two types of tonal coloration, one usually sounding thinner than the other; which one you use is entirely a matter of personal choice. On longer delay times, the invert facility will produce little or no subjective change to the sound."
I'm geeking out here
, 'tis a very interesting topic to me.
For your reverb, I'll suggest getting one that doesn't affect the low end, only the mids and highs get the effect. Even better if it has pre-delay settings that you can muck about with. Depending on how you're intending to use your reverb, you could set the pre-delay longer for making it sound like a bigger hall/space.
Another cool trick is to put reverb only on the delay trails (still keeping that short chorus/flanger delay setting), not on the dry signal.
That ought to fatten things up for you while retaining clarity and pitch definition.
