EQ reverb and delay returns

Expanding on the post from January 3rd, not only is it effective to combine reverbs and delays in different combinations, but it’s also important to filter the aux returns. Typically you want to cut low frequencies to avoid a build up of mud in the mix, and cut high frequencies to avoid the delays and reverbs competing with vocals or other elements in the upper ranges. Oftentimes, I end up with an EQ that looks like a bandpass filter (an upside-down “U”).