Using delays in mixes

[Primal Yell]

 

not a bad Idea to eq and even de-ess those delay returns on vocals ! keep it from getting spitty. If more people would compress ( to make it "stick" to the source better) and eq and , when necessary , duck the returns on reverbs , then things would'nt always be so muddy.

 

 

Please Clarify here---compress the delay return, or are you referring to compress the source?

 

Also, what do you mean when you mention "make it stick" ? and spitty? (spitty meaning too much upper midrange?) I may need to learn the terms a little bit here.....Thankyou for sharing these tips---good stuff.

[WRGKMC]

I like using a hardware delay on guitar leads set in longer multiples in stereo. It not only gives a really big sound when tracking direct it inspires/enables lead riffs that are difficult or impossible dry but it sets down an additional rythum pattern to the lead to maintain note timing. Fast delays for rythum guitar can be just as important with a miked amp or direct. 1/3 timings for trippelets is neat for it mixes with the 4/4 of some songs depending on the genre.

[Lee Knight]

 

Would you mind explaining how you route this up in your mixer with some greater detail Please?. when it gets sent via aux back unto itself--how does the routing happen and go from there? I am also a little bit confused when you mention "flat"--it may be misleading me in a sense, because i tend to think that you may be referring to flat eq here, but on the other hand, i don't ever think of the delay unit as a "flat" processor---actually I think of a delay unit as a "sparkle" or "shimmer" and never ever as "flat"...... would you also please explain in a little more detail how you coordinate or automate the "nasty" to be in time with say the drums? (or a single drum). Very interesting post, and I appreciate your sharing these neat tricks!! Thank you Lee!

 

 

Right... flat eq. Most delays have a filter to roll off the highs. A digital delay is really just a copy of the signal. But when the delay trick was first employed it was a tape machine. Tape rolls off the highs. Hence the filter on the digital delay. I like to use a dedicated eq before the delay and forgo the filter inside the delay. By rolling off the highs even more dramatically... and the lows, and bumping up some mid, your delay is one funky sounding beast.

 

Now if you route the aux send of that delay channel to that very same aux input or channel, that's just the same as the feedback control on your delay.

 

I guess for it to make sense it depends on what system you're using. The way you go about routing this is up to your own system.

 

But the beauty (or ugly) of it is, that the feedback will take on that eq curve each time it gets regenerated (feedback). Getting worse and worse... but also quieter and quieter. It's very cool. Just listen to a dub record.