![]() ![]() To pull every bit of creativity out of a tape delay, we’ve seen engineers do everything from daisy-chaining multiple delays to reversing their source audio, running it through the delay, and reversing it again once printed for a haunting reverse delay effect. Because of the dynamic aspects of a tape delay, playing with automation can give you some otherworldly results (go ahead and automate the delay time to its minimum setting at the end of a line if you don’t believe me). There are tons of tricks out there that can lead to insane tape delay effects. Feedback can be looped back into the tape delay to create more spacious ambiance around your vocal.īoth elements can be hugely beneficial to the end vocal mix, and deserve some experimentation any time you’re looking to get creative with time-based effects. More repeats are going to allow your delay to become more of a soundscape than a single repeat can. Similarly, adding additional repeats (or feedback) can contribute to the intricacy of your delay. By utilizing multi-head functionality, engineers can create varying combinations of delays – adding to the overall complexity of the delay sound. Multi-head delays are a great tool for adding both width and depth to your vocals. Just like distortion can improve guitar tone, distortions to your delay can improve your vocal mix. In return, you’ll get a lush, unique sound from your delay that can settle any vocal into a mix. ![]() Take advantage of Speed, Flutter & other controls that might bring a lo-fi quality to your delay. Instead, play around with the Health of your tape delay. While there are times where this might be desirable, having your vocal delay ring out as if you have two will break the magic of a good mix. Why?Įxact clones of your source are distracting. In a somewhat counter-intuitive statement – I’m going to go out on a limb and say that lower fidelity delays are drastically more effective and “gluing” your vocals into a mix than an exact copy of your source audio might. Need to pull out more once you dial-in your delay? No problem, just go back to the de-esser and pull it down a bit more.īest of all, your source audio can remain unaffected by the de-esser, giving you complete control over your sound. De-essers usually have few controls, and can be adjusted quickly for a simple fix. We’re lucky in the digital realm that adding a de-esser is as easy as inserting one on the channel prior to our delay. The fix is simple – overcompensate on the way in to avoid issues on the way out. Due to the nature of tape, sibilance is can be accentuated in an analog or analog-modeled tape delay. ![]() De-Essing Saves EarsĪ vocal is a very sibilant source, and tape delays aren’t too forgiving if your singer is hissing away the lyrics. Here are a few quick steps to get you up and running with one of the most tried and true uses of time-based processing: Tape Delay on Your Vocals. Using too much of an effect can make your source audio unintelligible, or worse, snap your listener out of the moment because “something doesn’t sound right”. For most, a good tape delay or reverb is worth its weight in gold (not just figuratively, but literally when they can contribute to the sound that defines a gold record).īut all engineers face similar challenges when starting out: they all must learn to make their effects sit well in the mix. Top engineers are always looking for ways to take on more creative control in the mix process, and time-based effects are one of the first tools they reach for to get them there. ![]()
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