LPF and hpf do more to shape the contents of the room — what’s inside it? What are the walls made of? — then the position. Lots of people/carpet/furniture are going to make for a darker-sounding room. Empty concrete walls? Brighter. Air also counts in the contents of a room, so it’s it’s a very large it will sound darker (timing of early/late reflections matter here, but that’s not a thing on the A4).
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Predelay can be confusing, because the more you have, the further it pushes back the wall but the closer it brings the subject. Think of it when standing right next to a sound. You hear the primary sound immediately, then it travels out, hits some walls and things, bounces back, and then you hear it as reverberation. A large predelay would mean the reverberation had to travel quite some distance to complete this round-trip.
If the subject were some distance from you, though, and you were next to the wall, you’d hear the primary sounds and the reflections at practically the same time.
So filters, type or furnishing of room. Decay, size of room. Predelay, distance from source relative to wall.
Edit: I forgot mix! Mix, IMHO, moves from how “present” the “room” is (0-20%) into “how does this sit in my mix” (20-50%) through “how much do I want this to sound like an effect?” (50-100%). There’s no real mix in nature, so when we mess with it, we’re messing more with how the scene was mic’d than any of the characteristics of the room. So this setting, more than any other (again, IMHO) can be set to taste / what sits well.
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