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Take Your Delays to the Next Level!

Hey, what’s up guys? Another video.

Today, let’s get serious with our delays. Like, really serious. We’re going to distort, we’re going to high pass and low pass, and we’re going to use a little imaging on them to just create sort of a unique sound.

So right now, let’s just play this vocal chunk.


Alright, let me show you what I did on that delay. I’m going to mute this.


That’s the finished product.

Three plug-ins, we’re going to use a Decapitator, we’re going to use Waves H-Delay, which is super cool, and we’re going to use an S1 Imager, also from Waves.

So let’s go to work.

This is what the dry signal sounds like to the delay send.

[vocals, to delay]

Yawn. Alright. So Decapitator. A little distortion.

[vocals with Decapitator]

Here’s without it.

[vocals, dry]

Set it with the punish setting on, a little bit of drive. We’ve got control on our own output, because I want to be careful how much of this is going into the actual delay, which is going to come next, and then the mix is 100% wet. It’s on the A style. It’s sort of just the default setting and I kind of just messed with it until I got kind of the sound I wanted.

Alright. Simple enough. You can also use Lo-Fi or any kind of distortion or virtual stomp box pedal or anything like that. Just like we talked about in other videos.

Next, H-Delay. Listen to this.

[vocals with H-Delay]

It’s a preset, what I’m looking for, and then I tweaked it a little bit. So let’s kind of quickly go through the settings.

It’s basically an eighth note delay, ping pong, it’s synced to beats per minute on the track, which is 112. Depth is at zero, rate is at one. We’re high passing to 450 and we’re low passing at 3kHz.

That’s pretty important, because I don’t really want to hear the top end of it because that’s really what you’re going to hear on delays, so I’m going to low pass it because I want to feel it more than I hear it, if that makes sense, because we’re using this to create space and using it to create more ambience, like we use reverbs. Then low passing it to kind of keep the 200, 300, 100 mess kind of out of the way.


Feedback is at 10, Dry is at 24 — dry/wet mix, output is at 8.1, and it’s on Analog setting 3.

This is a really cool delay plug-in from Waves. I love their H-Delay. It’s got a tap feature on it, it’s got this cool Lo-Fi button too, so it’ll kind of add some vintagey, vibey kind of stuff to it, but we’re not messing with that today.

So that’s the H-Delay. Definitely check it out. Then we go to — Alright, so that’s what — Here’s what it sounds like with the H-Delay and Decapitator.

[vocals with H-Delay]

So that’s our delay signal so far.

So I’m going to go to this S1 Imager.

[vocal delay with S1 Imager]

And that’s where we really make shit wide. Basically, all I did is it came up default, and I took this width, and I think it defaults to around minus 12 or something. I just jacked it all the way up.

[vocal delay with S1 Imager]

I’ll slowly pull it down, you kind of hear what happens to the stereo field.

[vocal delay, adjusting S1 Imager]

So this thing, you’re able to really shape where this thing sits. The width of it, the narrowness of it, you can also get crazy with this rotation and asymmetry values.

[vocal delay, adjusting S1 Imager]

Pretty cool stuff. Here’s what it sounds like.

[vocals with delay]

In the track…


Play with this stuff on your delay sends. You can put them on reverbs. Try flangers instead of Decapitators. Get crazy with tremolo effects. You can do all kinds of really cool stuff, especially in Dance music. Put it on synths, lead lines, vocals… Just get creative.

This is the type of stuff these new producers are doing out there, they’re getting all of these new sounds. They’re really kind of pushing the limits with their effects sends and returns and seeing what they come up with.

So yeah. Just use it smart. Always think about frequency, always think about getting things to lay together nice, what don’t you need frequency wise, what do you want to hear, what don’t you want to hear, then kind of where do you want that effect to sit.

You can do really cool things with mono effects sends too if you just want one sound in the right with one spring reverb, and you know, you can put an imager on it to make even more narrow or something, I don’t know.

So yeah, hit me up on Twitter, like the video, subscribe if you haven’t done that before, check out the website, there’s some premium tutorials. I’m slowly getting those done.

So thanks for watching, we’ll see you in the next video.




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