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Setting the delay time by ear

From: Foundations of Audio: Delay and Modulation

Video: Setting the delay time by ear

If the tempo of the song you're working on is unknown, or if you're working on music that was not recorded to a click track, try using the snare to tune a delay, to set a delay time that makes musical sense. Even if the plan is to add delay to the vocal, piano, or guitar, it's usually easiest to use the snare for finding the appropriate delay time, both because it's a rhythm instrument and also because it hits so often. So much of pop music has a backbeat. The snare following regularly on beat 2 and beat 4. Send the snare to the delay and listen to the echo.

Setting the delay time by ear

If the tempo of the song you're working on is unknown, or if you're working on music that was not recorded to a click track, try using the snare to tune a delay, to set a delay time that makes musical sense. Even if the plan is to add delay to the vocal, piano, or guitar, it's usually easiest to use the snare for finding the appropriate delay time, both because it's a rhythm instrument and also because it hits so often. So much of pop music has a backbeat. The snare following regularly on beat 2 and beat 4. Send the snare to the delay and listen to the echo.

Starting with a long delay of about 500 milliseconds and with some feedback to make it repeat, adjust the time until echoing snare hits fall on a musically relevant beat. If the delay falls at a nonmusical time interval, it can be pretty jarring, but when it's adjusted into the time of the music, you'll instantly feel it. It's perhaps easiest to find a quarter note delay, and with practice and concentration, finding triplet and dotted rhythms becomes perfectly intuitive. You can also make use of the delay time calculations discussed earlier in this chapter.

After the delay time value appropriate to the tempo of the song is found by ear, don't forget to pull the snare out of the effects send and send the vocal or whichever track is to be treated with echo to the delay instead. That use of snare was a device for tuning the delay, not a mix move. Once the correct delay time has been found, undo the snare routing and return the snare to its rightful place in the mix. The delay now sits, ready to add the perfect echo to any track you feed it.

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This video is part of

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Foundations of Audio: Delay and Modulation

32 video lessons · 9468 viewers

Alex U. Case
Author

 
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  1. 4m 58s
    1. Welcome
      1m 40s
    2. What you should know before watching this course
      50s
    3. How to use the exercise files
      54s
    4. Using the "Get In the Mix" Pro Tools session files
      1m 34s
  2. 25m 46s
    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
      5m 40s
    8. Setting the delay time by ear
      3m 25s
  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. 49m 48s
    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
      3m 52s
    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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