On est d'accord là dessus… Il va droit au but…

That's true, but personally i don't find that creating depth with pre delay is that effective, that is when we play between such small values (0-25) and when we are in an orchestral setting (it's different for pop music, you can do crazy stuff with predelay on vocals for example). Anyway, I find that you can get the depth simply with the dry/wet mix. Adding more predelay technically makes something closer but at the same time it unfortunately kind of blurs the music when it's too much. For that reason i simply don't really worry about it for creating depth and i just focus on how the articulation/envelope of the reverb affects the music.

Thanks for your quick reply. I guess that clears it up... (Actually I'm somewhat relieved that you don't recommend using predelay for depth purposes that much, unlike some composers or mixers who have e.g. three different reverbs to achieve this, like "close", "medium", "far". While in theory that sounds like a good idea to me, I never really tried it because if you multiply that by instrument groups you may end up with literally dozens of reverbs.)

I wouldn't do that as it might mess up with early reflections. I don't want to duck them as they're important for the feeling of space