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Tips for Using Delay on Busses

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Tips for Using Delay on Busses
Tips for Using Delay on Busses - youtube Video
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Hey folks, Matthew Weiss here — weiss-sound.com, theproaudiofiles.com, and mixingwithdelay.com. That’s a tutorial all about delay, which can be found in the description below.

This tutorial is going to be about delay as well, but using it in perhaps an unexpected place, and that is going to be the instrument submix buss, or perhaps even the mix buss itself.

So I’m going to play the end of this record real quick.

[music]

Now, there’s a couple of things that I could do here, because it feels like the record is just kind of cutting off, and ending, and doesn’t really have an actual end, but I could take that ending and I could loop it up, and I could do a fade, and that would make it feel like it has an ending, but there’s perhaps something I could do that’s a little bit more interesting, and that is a little trick that I picked up listening to the radio back in the day, where when DJs needed to cut off the record, they would trigger a delay, which would create an echo out, which is maybe a little bit more interesting and a little bit more punchy than just doing a regular old fade.

Alright, so here’s what I’m going to do. I’m going to grab my choice of delay plugins, which for this is going to be EchoBoy. Can never really go wrong, and I’m going to set this to a quarter note. Set it right to the MIDI tempo, and then I’m going to set it to 50/50 dry/wet, turn the feedback up to about 50%, we’ll bypass it, and what I’m going to do is just in real time trigger it, and we’ll see how that feels.

[mix]

Okay, that was kind of cool, right? I mean, it had a little bit of sauce to it, but it wasn’t like, amazing, so now it’s time to kind of add the herbs and spices and get it to sound really cool.

So first thing I’m going to do is I’m going to put this into touch mode, and I’m going to just commit where it’s supposed to hit, and we’re going to go with that.

[mix]

Alright, cool, so now we’ve got our first little bit of automation in here. Right?

Now that we’ve got this going, we can try a couple of different things to make it a little bit more interesting. Like, for example, let’s say we changed the amount of — Or, not the amount, we changed the timing to an eighth note, see how that feels.

[song]

That’s interesting, but maybe a little too springy, but let’s try something that’s got a real swing to it, like a dotted eighth.

[song]

I kind of like that. Now, let’s maybe experiment with the placement of it. Let’s try dragging it back a little bit, see how that feels.

[music]

Okay, I kind of like what’s going on here, but maybe instead of just having it cut in really hard, we go from dry to wet on a sliding scale. Let’s go like this…

[mix]

Kind of getting somewhere. Let’s have it sort of fade in kind of casually at first, just so it’s subtly there, and then kind of pop in a little bit more readily.

[song]

Get a little kick drum in there, so let’s get rid of that. This video is featuring Teddy. It’s a friend’s dog that I’m dog watching.

[mix]

Now we’ve got something a little bit more interesting happening, right? Now, let’s take it a few steps further, let’s start playing around with some different flavors. Let’s do something like — let’s do an EchoPlex, let’s see how that sounds.

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[song]

Cool, right? So actually, we really don’t need it to come in that early because of the washiness of it.

[music]

Now that’s a neat little ending right there. Let’s make it a little bit more relaxed, make it fade in about there.

[mix]

I really like what we’ve got going on there. Let’s play it from a little earlier and just see how that ending feels.

[mix]

Nice. Very cool little ending right there.

Okay, now I want to jump to another part of the song where I’ve got a moving fade programmed in. This is going from the verse into the pre-chorus.

[music]

Right, so that’s a pretty typical fade maneuver, you hear it a lot in EDM, we hear it a fair amount in Hip Hop tunes as well, but basically it’s this sort of rising cutoff that allows more and more top end to go, and then right before the chorus kicks in, we drop it down, bring it back in, it creates a lot of tension, a lot of good drama, and wakes the listener up. It’s a cool effect. I stylized it and made it cool on its own, but maybe there’s something I can do to make it a little bit more interesting all-in-all.

So in Effects Rack, I can kind of put a bunch of effects plugins into one window, so I’m going to drag in this delay, and I’m going to make it sound like the whole beat is kind of in a warehouse, except I’m going to kind of ease off the kick drum, so again I’m going to use this low cut here so I’m not getting too much low end itself into the overall sound of this.

I’m going to go into dual echo mode here and to create this sort of moving reverb washy sound, I’m going to go for really fast times. I’m going to do like, a sixteenth note on one side, and a thirty-second note on the other side, and I’m going to have the feedback up pretty high. So let’s hear how that sounds just right there.

[song]

Alright, it’s not bad, but it’s not quite what I’m going for. I think that I need something that’s a little bit washier, and what I like about this is that if we go down to a style — let’s go for — here, Teddy is going to help. Alright, you want my attention, Teddy is going to help us. Teddy is going to help us program this. Alright, let’s figure this out, Teddy, okay? Alright? You tell me when it’s good.

So let’s find a darker setting like maybe the TelRay. Let’s see how that feels.

[song]

Alright, we’re off to a good start, now I’m going to go into the style edit here and what I like about this is that I can really adjust the overall texture of things, and I can diffuse our echoes, and this is going to make it sound a lot more like reverb here, this diffusion control right here is going to scatter it, and I’m also going to turn this depth up as well to the pitch modulation. So let’s try this.

[mix]

Nice, and then let’s just change our saturation here, let’s make this mostly dry. Let’s turn out the output so that we get a little bit more reverb effect, and now let’s see how that feels.

[song]

So the idea here guys is that you can take something like delay, where we sort of have pre-conceived notions as to where we use it and where it’s appropriate and everything like that, and you can start to experiment and put it in places where maybe it doesn’t belong just to see what happens, kind of like making a section its own section of a record like what we were doing with the filter, but kind of making it our own instead of being a cliché or using it to create an ending, something like that, and there’s just a lot of different possibilities, so I want to encourage you guys to be experimental.

Anyway, Mixing With Delay is out, that link is in the description, and of course, if you like what me and Teddy are doing here on the channel, hit that like button, hit that subscribe button with the bell, and I will catch you next time. Alright guys.

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Matthew Weiss

Matthew Weiss

Matthew Weiss is the recordist and mixer for multi-platinum artist Akon, and boasts a Grammy nomination for Jazz & Spellemann Award for Best Rock album. Matthew has mixed for a host of star musicians including Akon, SisQo, Ozuna, Sonny Digital, Uri Caine, Dizzee Rascal, Arrested Development and 9th Wonder. Get in touch: Weiss-Sound.com

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