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Just like with reverb, many mixers will use multiple delays during a mix. In this setup, we'll use three different delays. One set up for a very short delay. Another is medium and another long. Let me show you how to set them up and what they sound like. The reason why we are going to do this is three delays cover most of the possibilities that might arise during the mix. It's also possible that one of the delays will be dedicated to just one mix element, like a solo or a lead vocal. So our very first delay is going to be the Haas delay, and as we said in another movie, this is a very, very short delay of 40ms or a less. Let's set that up.
So what we are going to do is go toward Delay. I always use the Long Delay and the reason why is it gives me a lot more flexibility. If I decide that I want to go to a lot longer than 36ms it's very easy to do that. One of the big problems with some of these other delays like the short delay or the medium delay is they have a finite length on them. And if let's say you want to go beyond that finite length, you can't. You really have to put another plug-in in and so that's why I always use Long Delay.
So since we know that the BPM of this track is a 104 and that equates to 72 ms for an 8th note, what we want to do is set this at 36 and the reason why is 36 is below 40. 40 is the magic number there because what ends up happening is anything above 40ms will sound like a discrete delay. Anything below 40ms will sound like it's blending in with the original sound, and we use this for thickening more than anything else.
So let's set this at 36 and let's set up the next one. This one is going to be a short delay and it can be anywhere from a 50 to a 150ms, with the couple of repeats in time to the track. So once again we use our Long Delay plug-in. And the beauty is we already know that the tempo of the song is at 104. We can see it here. And if we click on any of these notes here, it actually gives us the delay value. So in this case, we can see that an 8th note is 288ms.
That's longer than we want. We want something shorter than that. And let's try this. 144ms. It actually might sound better little below that but let's use that as a starting place. And this is more for a slap. Delay number three is set as a Long Delay and that acts more like the glue for a track. So we want to shoot for a time delay that goes anywhere between 250 to about 400ms with a couple of repeats. I like to use a triplet or a dotted note value here but experiment to see what works best for the song. If you want to delay to stick out, sometime the 350ms untimed delay works great.
But we are going to time it this time. So we will go to Delay, we will say Long Delay, and so it says 288ms. What I am going to do is put it in as a dotted note value and that comes out to 432. It's a little bit longer than what we would want. Let's see what it's like when we go to 16th note. Oh it's not. We won't either. So a quarter note triplet might work and like I said, I like dotted notes and triplet notes because they actually blend in with the track very nicely.
So let's try that and see what happens. And first thing we will do is we will bring up the vocal, solo it. Let's listen first to our Long Delay. The Long Delay is on Bus 16 so let's go to Bus 16. Have a listen to what it sounds like. (Music playing) Let's listen into track. (Music playing) Now we can hear it, but it blends in with the track.
Well now if we bring it back so we can just barely hear it, listen to what happens. (Music playing) You can hear when it's in the track, where it adds a little bit of an ambience that you wouldn't get any other way. And what ends up happening is it sounds different from reverb and that reverb tends to sound a little more washy than a delay.
Delay makes everything a little crisper sounding and that's why I like to use them a lot. Now let's try another reverb. Let's try the short one. And this is setup more as a slap, so we are going to go to Bus 15, solo it up, have a listen. (Music playing) So let's listen with the track. (Music playing) That actually works better for this track.
And you might find that the Long Delay, which doesn't work on the vocal, works great on guitars, works great on keyboards or something else. The last one to try is the Haas effect which is a very, very short delay. And the first thing we have to do is assign a signal path to it. So we will go to a bus, and we will say Bus 19. And the other thing we have to do is we want to put it in what's called Solo Safe. And solo safe means that no matter what we solo, this channel will always stay on. And what we do is hit Command and click on the Solo button and now it's in solo safe.
It's a good little trick. Let's assign this to Bus 19. This is the send we are assigning. Let's solo it up and have a listen. (Music playing) Let's listen to it in the track. (Music playing) You can hear it thickens things up, yet it doesn't sound obtrusive. It doesn't sound so in your face.
It doesn't sound discrete. Lot of times this works better on things like guitars, works really good on saxophones or bass. Less so on vocals but you can hear what it does there nonetheless. So these delay settings are just a starting place and they will be tweaked as you go along in the mix. Sometimes you might find one of delay times unnecessary while other times you may need more than what we have here already. The three delay setup covers most of your delaying during this mix. It consists of a very short delay of less than 40ms, a short delay of anywhere from 50 to a 150ms.
It's used for a slap or a double. And a long delay that will act as your glue which is a time delay that goes anywhere from 250 to about 400 ms.
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