Now for that dub sound, we can control this in a few ways: As the delays continue you’ll notice the delay starts to feedback on itself. As the sound hits you’re going to want to have your delays feedback set pretty high. Let’s run through it, using a tasty little brass stab from the Roots Revival reggae sample pack. A great feature within many delays is having the ability to automate feedback and filters at the same time (ooosh). Inspired by the works of King Tubby, Scientist and beyond let’s explore this a little further. Various elements can move in harmony with each other creating a solid rhythmic backbone.Ī true Samplephonics favourite and a crucial element in the development of ‘that dub-sound’. Placing your delays on sends allows you to develop a sense of continuity between the elements in your mix.īy choosing a few different delays with different tempo synced delay times and varying filters it offers you a huge variety of sonic possibilities but with the smug knowledge of knowing the mix will finish feeling unified and together. Interestingly though, those early pioneers were actually on to something and it’s not just computer power-related. “Placing your delays on sends allows you to develop a sense of continuity between the elements in your mix”īack in the day, using delays on sends was often seen as a sweet way to save on CPU but with the development of more powerful computers and external DSP processing this isn’t as crucial. Sometimes longer times feel more natural!
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Quick tip: Always explore different delay times. When using short delays it’s worth experimenting with the filters as this can often soften the returns thus sitting them a little more comfortably in the mix. This was especially well used in the 70’s but is a neglected method to create that added sense of space. We can utilise this by placing super short stereo delays around a vocal or using the often forgotten ping-pong effect. Using a snippet from our Natalie Major Vocals pack, in the audio example below, we explore the use of a short 30-40ms stereo delay in conjunction with a longer 900ms tape delay for added depth and space. A clever work around for this is to use a delay to create a sense of space and 3-D depth.Īs you may know, any reflection or echo which has a super low delay time is perceived as not being a delay at all hence the brain thinks this is a short reverb time i.e room verb. A poor reverb selection can leave a mix feeling lost and muddy with no clear focus, especially on vocals. In this music production tutorial, Rich from the team explores a few of his favourite techniques and shows just how effective this little effect can be.Ī common issue in many mixes, whether that be of pro-standard or home studio quality is the over use of reverb. An often-overlooked creative tool, this studio mainstay offers a wealth of sonic variation in both the spatial and creative contexts. Introducing the go to audio effect and a personal favourite of team Samplephonics, the humble delay-ay-ay-a-y-y-y.