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Delay effects examples in various plug-ins


From:

Foundations of Audio: Delay and Modulation

with Alex U. Case

Video: Delay effects examples in various plug-ins

Having a long list of delay plug-ins to choose from can be intimidating at first, but I have some good news. When you learn how to use one delay, you've pretty much mastered all of them. The basic parameters of level, delay time, low-pass filter, feedback, polarity reverse, modulation rate, and modulation depth are all found on almost every delay processor. This is one the most basic delay plug- ins you might find, but it's rich with all the controls we discussed. We have level control shown here as gain, we specify the delay time here, there is a low-pass filter, feedback, polarity reverse and a modulation section.
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  1. 4m 59s
    1. Welcome
      1m 40s
    2. What you should know before watching this course
      50s
    3. How to use the exercise files
      55s
    4. Using the "Get In the Mix" Pro Tools session files
      1m 34s
  2. 21m 39s
    1. What is delay?
      2m 7s
    2. Creating delay effects overview
      1m 41s
    3. Delay time, level, and feedback parameters
      3m 0s
    4. Utilizing a low-pass filter and polarity reverse
      3m 7s
    5. Setting up an effects loop for delay
      1m 6s
    6. Setting up an effects loop in a DAW
      5m 40s
    7. Setting the delay time by tempo
      3m 25s
    8. Setting the delay time by ear
      1m 33s
  3. 31m 29s
    1. Overview of short, medium, and long delays
      3m 49s
    2. Long delays
      3m 17s
    3. Get in the Mix: Using long delay on key lyrics
      7m 2s
    4. Get in the Mix: Establishing groove with long delays
      8m 42s
    5. Get in the Mix: Creating slap-back echo with long delays
      6m 6s
    6. Advanced tape-delay effects
      2m 33s
  4. 46m 59s
    1. LFO
      2m 39s
    2. Get in the Mix: Modulation rate and depth
      7m 32s
    3. Get in the Mix: Modulation shape
      7m 43s
    4. Delay effects examples in various plug-ins
      3m 52s
    5. Medium delays
      1m 3s
    6. Get in the Mix: Chorus
      5m 54s
    7. Get in the Mix: Double tracking
      6m 23s
    8. Get in the Mix: Spreaders and thickeners
      11m 53s
  5. 16m 31s
    1. Constructive and destructive interference
      2m 16s
    2. Short delays
      1m 6s
    3. Get in the Mix: Creating a comb filter and a flange effect
      5m 34s
    4. Get in the Mix: Flanger and phaser effects
      7m 35s
  6. 19m 11s
    1. Using delays in a real-world mix
      16m 59s
    2. Course summary and goodbye
      2m 12s

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Watch the Online Video Course Foundations of Audio: Delay and Modulation
2h 27m Appropriate for all Jan 18, 2012 Updated Jan 31, 2014

Viewers: in countries Watching now:

In this installment of Foundations of Audio, author Alex U. Case explains the fundamentals of delay and modulation effects and how to apply these effects, technically and creatively, to improve the sound of a mix. The course covers adjusting individual parameters such as delay time, level, and feedback; working with long delays to create echoes, enhance groove, and add support; using delay modulation for chorus and doubling effects; and dialing-in spectral effects from delay, such as flanging. This course also includes Get in the Mix (GITM) sessions for both Avid Pro Tools and Apple Logic Pro. Exercise files are also included with the course.

Topics include:
  • Adjusting the delay time, level, and feedback parameters
  • Utilizing a low-pass filter and polarity reverse
  • Setting up an effects loop
  • Setting the delay time by tempo or by ear
  • Understanding the distinct uses of short, medium, and long delays
  • Adjusting modulation rate, depth, and shape
  • Adding double tracking and spreader effects
  • Manipulating tone with constructive or destructive interference
  • Creating a comb filter and flange effect
Subject:
Audio + Music
Software:
Logic Pro Pro Tools Waves
Author:
Alex U. Case

Delay effects examples in various plug-ins

Having a long list of delay plug-ins to choose from can be intimidating at first, but I have some good news. When you learn how to use one delay, you've pretty much mastered all of them. The basic parameters of level, delay time, low-pass filter, feedback, polarity reverse, modulation rate, and modulation depth are all found on almost every delay processor. This is one the most basic delay plug- ins you might find, but it's rich with all the controls we discussed. We have level control shown here as gain, we specify the delay time here, there is a low-pass filter, feedback, polarity reverse and a modulation section.

Because it's a plug-in, it has a view to the tempo of your project if you're using the tempo maps within your digital audio workstation. This lower section lets you take advantage of that, to simply specify the delay time in musically useful amounts, entering a quarter note or a dotted eighth note, or any other musical value, instead of a delay time in milliseconds. (music playing) Here's a more advanced delay plug-in, a 6-Tap delay from Waves.

The six simply refers to the number of delay outputs this plug-in has. Even this more complicated plug-in still has the familiar fundamental parameters we like to see. It's got a global level control and a global delay time. Then each of the six delay taps has its own individual level, delay-time, and low-pass filter, and here's feedback. With so many delay outputs, we add the ability to pan each of the six outputs to any location in the stereo field leading to some nice spatial effects.

(music playing) Delays come in many flavors sonically and in terms of user interface.

The Waves H-Delay, or Hybrid Delay has all the usual culprits present. We see output level, delay time, filters, low-pass and high-pass on this one, polarity reverse, and a modulation section. This delay also adds some adjustable coloration to the signal, with an ear on some vintage delay lines that were themselves not exactly high fidelity devices. This LoFi button pulls out the high frequencies from the delay. It alludes to early digital delays which ran at such low sample rates that depending on the make and model they sometimes couldn't encode audio much above 6 kHz or so.

We know we're lucky to be alive in audio at this moment in history. Our high sample rates today mean we can work with audio systems that are clean and full bandwidth, but a strategically narrow-band can help some tracks play fair with all the other tracks in the mix. LoFi means our delay won't compete with the other tracks at high frequencies. Another source of sonic character on this delay is the analog parameter. Turn it off and this delay is clean and pristine. Engage any one of the four analog modes for unique character, largely tonal, inspired in part by older analog circuits and tape machines.

For some applications, we like the character and charm of the imperfections of old, and this plug-in makes it possible. It's got a lot going on right now, let me strip it down and then build back up to this. (music playing)

Find answers to the most frequently asked questions about Foundations of Audio: Delay and Modulation .


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Q: This course was updated on 01/31/2014. What changed?
A: The Get in the Mix videos have been updated to the most recent version of Pro Tools. Also, the course now includes free Get in the Mix sessions for two more DAWs: Logic Pro X and Pro Tool.
 
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