using 2 delays? parallel? or series? what appeals to you more?

[linusâ„¢]

with my m13 i've been stacking delays (which only works in series mind you)- running dotted eighths into others and such..

 

i've seen some cool things done using y splitter cables- specifically i recall some EHX effectology where there were two Hazarai models running parallel..

 

keep in mind i am referring to a setup that will sum to a single channel, not a stereo setup..

 

Just curious if anyone had anything interesting to say..

[gambit]

i'd love parallel delays (i was suprised the M13 didn't have this option when i got one), but its a pain in the ass to setup on a pedalboard.

 

there should be more pedals with parallel delays built in.

[AnderMocs]

Series, because it's all I know.

[claytonjohn18]

Series because it's all I do.

[kpd78]

more often than not, if i'm using two delays they'l be in series.

i like to run parallel delays too though; for example, a single slap-back delay and a longer, more ambient delay sounds great to me.

[Estephan Rodriguez-Torres]

Red Witch are releasing a delay that can run in parallel or series (it has 3 delay channels). I was trying to do this not too long back with my DMM and ARDX20, but i'd be needing a few active splitters to do the job. Just some basic Y cables don't work (i tried and no luck). I wanted to run one of the delays overdriven and the other clean. The idea has been kinda abandoned until i can get the money together to get active splitters.

[Cirrus]

My Timefactor has them in Parallel. So, that.

[Cassette]

I don't have 2 delays, so neither

[dnoch_higgins]

 

Series, because it's all I know.

 

 

Here, here.

[gambit]

you guys are missing out on not trying parallel delays..

[dkerwood]

I don't do a lot of ACTUAL stacking on my M9, despite thinking I would when I first got it. Instead, I use the stereo delay because it runs the two channels parallel before summing to mono.

 

I came to this after trying to stack a dotted eighth note delay into a quarter note delay- I would get the original note, which we will call "1". Then I got the dotted eighth repeat, which we will call "a" (representing sixteenth notes as "1 e + a"). Next, I got the quarter note speaking, which gave me "2". Perfect so far, but here's where it got muddled. The dotted eighth spoke again on the "+" of 2, but instead of waiting until "3" like I expected, the quarter note delay spoke the first instance of the dotted eighth and gave me "a" and then "3". Now the dotted eighth spoke the "e" after 3, and from that point on, everything was sixteenth notes and the dotted eighth feel was totally lost.

 

In other words (dotted eighth, quarter note)

 

1 e + a 2 e + a 3 e + a 4 e + a

 

Didn't like that. I wanted the two rhythms to remain independent. Thus I run the stereo parallel delays, and although I lose the ability to voice them differently (hey, Line 6, fix that for me, will ya?), maintaining the rhythmic independence is worth it.

[linusâ„¢]

i'm surprised less are for the parallel.. i never realized the stereo delay in the m9/m13 was a paralell..

[mitre]

you guys are missing out on not trying parallel delays..

 

[H.R. Shove and Stuff]

Both.

 

Wait till I get this delay built.. I keep saying that to myself 4 delays in parallel..

[bvester]

Using 2 delays? wrong...use 4.

[mitre]

Both. Wait till I get this delay built.. I keep saying that to myself 4 delays in parallel..

 

I hooked up my Headrush with each of the 4 "heads" running into a separate delay, and then into my 4-track.

 

Unfortunately, it wound up sounding like dogshit.

[dkerwood]

 

i'm surprised less are for the parallel.. i never realized the stereo delay in the m9/m13 was a paralell..

 

 

Yup. I have a scene set up (that I could never use, but sounds cool) with three of the stereo delays cascading into each other with different delay lengths. Purdy.

[bad mutha-humpa]

What's the advantage of parallel delays aside from running one dirty and one clean?

[Alt-me]

I'm definately trying this tonight!

 

Boss LS-2 in A+B mode with my RE-20 in "A" and my SMM/H in "B"...

 

Aw, yes son!

 

[V]

Hmm you know i had never tried parallel delays until this thread. SO, I took my DMM and ran the dry out through my H2O and took the dry out of that and ran it through the Memory Boy. Then I recombined everything.

 

DMM was set long with a chorus, MB set shortest with vibrato. H2O Longest with clean repeats. Sounded like heaven.

 

Basically you get a lot more control over the repeats if you put them in parallel, because the delays aren't delaying one another again.

 

Of course, I do love series, but i had to vote parallel this time cause it sounded great.

[petejt]

I like it in series.

 

 

I have a stereo delay pedal where I run the output of the left channel into the input of the right channel, to stack it up. Usually I'll run long slow modulated delays or really slow ambient delays. It's set really dark to approximate tape echo sounds.

 

I also have another delay (H2O) in front of it, set for a more immediate, obvious delay. It swirls nicely in the background while embellishing everything.

 

 

Once I get my Switchblade midi thingamajig up and running I can then try the parallel stuff.

[linusâ„¢]

Hmm you know i had never tried parallel delays until this thread. SO, I took my DMM and ran the dry out through my H2O and took the dry out of that and ran it through the Memory Boy. Then I recombined everything. DMM was set long with a chorus, MB set shortest with vibrato. H2O Longest with clean repeats. Sounded like heaven. Basically you get a lot more control over the repeats if you put them in parallel, because the delays aren't delaying one another again. Of course, I do love series, but i had to vote parallel this time cause it sounded great.

[awallace]

Having played around with both configurations I enjoy using parallel delays much more. When I bother to set it all up I run through my normal chain to an ABY which splits to two tap tempo delays- one feeding a Marshall amp, the other to a Fender amp.

 

Running both amps with slightly (or vastly) different delay settings makes for a nice wall of sound though it can be very tempting to overdo it which sounds great alone but doesn't really work in a band context. You can achieve some very cool rhythmic and ping pong effects plus I have the option of running either amp with or without delay or using the amps/delays individually which I do a lot- using the Fender for cleans and Marshall for dirt.

 

Parallel processing all the way...

[dkerwood]

 

What's the advantage of parallel delays aside from running one dirty and one clean?

 

 

The delays are independent of one another, so while delay 1 is only delaying your dry signal, delay 2 is only delaying the dry signal at a different time. If you run series, delay 2 will delay not only the dry signal, but also the delay signal from delay 1. If you have more than 2-3 echos dialed up in feedback, that gets muddy really quickly (especially if you aren't using delay times that overlap precisely).

 

Like I mentioned before, I wanted a quarter note delay and a dotted eighth note delay. When I ran it series, the two delays combined and by the fourth beat after my original signal (only the third repeat on the quarter note delay and the fourth on the dotted eighth), all I had was sixteenth notes. It sounded muddy enough with one staccato strum, but once I started playing, it was mush. I had to turn down the mix and the feedback to compensate, but then I lost the effect of the delay. When I went to parallel delays, however, BOTH rhythms remained intact through their decay and the sound stayed clear.

 

Both series and parallel have their place, but I find parallel to be of most use to me.

[chakosh]

What if I run the two parallel delays of the TF series into a DD-5?