What's Your Vocal Reverb Preset & Predelay Preference?

Predelay by tempo increments, the rest based on context. Lately frequently using IR’s of some studio rooms I’ve made.

The one one !

I also do pre-delay based on tempo. It usually falls in the 50-60ms range on faster songs and 90-120ms range on slower songs. It is some combination of a Lexicon PCM 70(Rich Chamber or a Hall), PCM 80(Rich Plate) or PCM 91(Large Random Hall). Usually leaning on 1 as the main vocal reverb with one of the others tucked underneath.

I think it’s called the one... will check when I get home

Wow, I don’t ever feel like i can get away with anything that long. Probably rick rubins fault.

It is called The One, it’s the CC default.

Thanks for the replies,
I don't have the UA Capital Chambers plug but remember hearing Al's favorite chamber at Capital was #4 for his main vocal verb, with a little Bricasti blended in using a Clear Hall setting dialed down to about 1.9 seconds and a predelay range on it between 80-120ms depending on the song. Usually sitting around 90ms as the starting point.

Do you do these all on the same bus?

No, I put each verb on a separate bus of its own. This way I dial in slightly different amounts of the Ocean Way plug to place the players in a room, as much like a soundstage as I can.  Varying the position with the Ocean Way doesn't do much, but the little it does adds up in the end. I never make the OW obvious. I don't want it to be a reverb, I want an improvement on the overall room sound. There's always an amount of Ocean Way that when you dial it in, the space I recorded in vanishes and the players begin to sound like they're playing together. I stop right there.

Then I put the Seventh Heaven on bus 2. That's my main reverb sound, usually the London Studio or a Plate, depending. On bus 3, the Relab XL480, this is to widen the space. The reverb bounces of "the walls" farther left and right than other reverbs, giving pianos and guitars a slight stereo effect.

My next verb is an optional one, depending on the track. 

My go-to has been the UAD Plate 140. Usually Plate B, bring the decay down a bit bring the HPF thingy up to about 200-300Hz and predelay either zero or a little to taste. Sometimes I’ll switch to plate A.

For super ethereal stuff or for that dreamy long decay, I love the Lexicon 224 small hall with the mid parameter cranked way up.

R4 Plate 81 is pretty awesome. Lots of cool stuff in the RMX16. I use Valhalla VV constantly - but not necessarily on vocals. Seventh Heaven gets more room work. Sometimes I’ll use it if I’m looking for a short chamber. Also cool plates.

Good timing. I've been digging deep on this lately. Sorry for the probably long post.
I have been slow, so I started an in depth at my mix reverb options for vocals. After weeks of listening intently, (Yep, I said "slow"), I've found several presets that I like. Predelays differ depending on tempo as stated by others. Anywhere over 30-40 is normal. I usually don't go over 108.

Plate: Bricasti Dark or Rich; Nevo EMT 140 or 240 Gold ... it just depends on the tail and what the tail calls for. Those are marked for starting places. If those don't work, I try SoundToys Little Plate.
Chamber: Bricasti Sunset - so good.
Roomish: Bricasti Red, Large Red, Wooden, Studio B Close; Valhalla Room - Easy to tweak early and late reflections to fine tune.

I did my "testing" by using different voices, got a reverb really keyed in, then I'd flip to a different set of sends for a whole different vibe. It really helped train my ears to listen for small cues and hear the changes between various presets.

My favorite was rarely a single verb or a single style. Many times, my favorite was a blend of 2-4 verbs for a lead vocal. For example, I might like a "dry" room sound and also feed a separate plate with a long tail. When set with care, the louder notes rang more, but everything else seemed "dry". Of course it's not dry, because once you bypass the Verbs, it was actually dry. But just a tiny hint did enough to my perception that I lost myself in the music, rather than a cold dry vocal. Same idea with a Chamber too. Sometimes just a hint of chamber helped too. All together it was classy and yet not overly "reverby". Of course, that could be changed if needed, but the mental perception without the distraction was often the best. I set things up and left them for days, often coming back to them and flipping between busses and options with fresh ears.

I learned a lot about how my ears work, what I do and don't like. What sounds good and what surprisingly sounds good... even if I didn't guess that it would. (I guess I had preconceived ideas on some presets. Interesting to blow those up and start fresh!)