Click the link in the description below or up there in the video to download this free cheatsheet right now, and supercharge the sound of your vocals today. And this is a real big challenge, right? Turning the vocals up loud enough so you can hear them clearly, but still making them feel connected to the rest of the music in your session. So one potential solution to this problem is to use reverb, right? This certainly has some advantages, and I use reverb on vocals fairly often.
But there are some drawbacks to this approach. The main one being that reverb takes up a lot of space in the mix, right? It has a lot of the same advantages of using reverb, but it takes up a lot less space in the soundstage. I can add more of it. Check out how the delay helps the track and the vocal kind of like get together.
You could do that with reverbs but delays have a different personality. If your track is a little more dense, you can use 16th and 8th note delay combination thereof. Once logged in , you will be able to read all the transcripts jump around in the video. Fab has been playing, writing, producing and mixing music both live and in studios all over the world.
He also has received Latin Grammy nominations and has worked on many Latin Grammy and Grammy-nominated albums. Parts of this site and some files are only accessible to pureMix Pro Members or available to purchase. Please see below our membership plans or add this video to your shopping cart. How to Use Delays on Vocals. Go Pro. Related Videos. All pureMix Mentors. What do you have to say? Add to cart. At first i was a little put off by the snobbish french attitude of Fab But his humor grew on me , then in this intro I literally laughed out loud , all the coworkers thought I went nuts Should you use a Haas delay for all vocals, including harmony, doubles or background?
Or is this primarily for the lead vocal? Both the video and the content: fabulous. Anyone who has ever been in an empty parking lot near a big building will understand the effect of a simple single delay and the sense of distance it provides. Using high-pass and low-pass filters is a powerful way to add depth and separation of the slap delay from the dry signal.
The reason is simple: over the course of any given distance, an acoustic audio signal will lose high and low frequency energy. Without getting into technical reasons for this, what you need to know is: Reducing the highs, or using more high frequency filtering will enhance the depth of the delay. Reducing the lows, or using more low frequency filtering will enhance the clarity of the delay. When setting your filters, always listen in context for the best combination of depth and clarity in the overall vocal sound.
Filter more when the vocals sounds confused or disrupted, filter less if the slap effect needs to be heard clearly in the mix, rather than felt. If a single delay does not provide a big enough effect for your song, a double slap can be twice as nice.
Using a stereo delay like the J37 Tape plugin, start by setting the same musical time value for both delay returns and pan them hard left and right. Unlink the left and right delays and shift one side a few milliseconds earlier and the other a few milliseconds later. One way to add rhythmic enhancement to a vocal performance while adding depth and space is by using repeating delays. Depending on the pace of the vocal performance and the tempo of the song, delay times will usually range from sixteenth notes all the way through to half or whole notes.
The addition of dotted or triplet values should also be considered when straight values are not quite giving you the sound you want.
One consideration with repeating delays is that they can easily build up on themselves in a busy vocal part and obscure the depth field and clarity of the vocal. Words or phrases that define the hook of the song or that have an empty space following them are typically the best choices. Rather than programming mutes for the send, which can sometimes leave clicks and pops, the send fader would be very quickly ridden thrown from the off position to the desired level to provide a smooth feed into the delay processing.
Reverb EQ parameter is very useful but not all reverbs have this feature. This option is perfect for rolling off low frequencies of the reverb which bringing muddiness to your vocal track. It can be a mixture of the Reverb and Early Reflections.
It is usual to have a dry mix for a kick drum and bass, unless you are using it for some kind of special effect. One way to create depth in vocals, is to put a certain amount of reverberation on it. If you are mixing backing vocals you will want to put reverb on them too. So, at the end of that chain, we have some amount of reverb, but also, the area in which we perform will generate its reverberation too. The tricky part would be that, if the room is filled with a crowd later, it will generate less reverb and the end result may not turn out like what you originally thought it would.
You should keep that in mind when adjusting reverb volume when mixing. Also, it is better to set the volume of reverb when the full song is playing because, if you adjust it on its own, it can be lost in the complete mix. Almost every singer loves more vocal reverb because it will not just create depth, it can also cover up some mistakes in off-key singing. More reverb, especially plate reverb, can cause feedback in high frequencies while hall reverb can bring more mud and hum in the mix.
With good ear, it can easily be determined whether there is enough reverb or not. I have a recommended gear page you might want to check out — just click here. What is the delay? The simplest explanation would be that it is the repeat of a signal. Depending on the setting and your effect processor, the signal can be repeated once or many times, it can be short, long, tempo-based, with filter etc.
Tape delay is the oldest type of delay used in mixing and audio production. Believe it or not, the signal was recorded in a loop of the magnetic tape. Fortunately, an analog electronic delay was introduced 20 years later in the 70s. Finally, digital delays became available back in the s. The development of microprocessors allowed engineers to put a lot more options in music devices.
The digital delay does the same thing that tape and analog delays do. They also provide us with much better quality, controlled and cleaner repeats which really help us have sound without muddiness.
The new powerful audio processors provide us with delays that simulate the famous delays of the past while also providing us with attractive new vocal variety for mixing engineers. Delay Time is the time needed for the first delayed sound to occur or simply, a time between echoes. That time or speed is measured in milliseconds ms in a range from 1ms to ms.
Tap Tempo function is especially useful for live vocal performance. You can set the speed of the delay by tapping a button on your pedal or processor. Whith this, you can set the stereo offset and pan to create a stereo delay. Very useful for reducing low-frequency rumble and high frequencies which can cause unwanted feedback.
Feedback is the amount of signal that you would like to repeat after the original sound. The more feedback, the more the number of delayed sounds.
We can compare it with the decay parameter on the reverb effect. Phase if your effect processor has this option inverts the phase of the signal which allows you to make a wide stereo delay on your vocal. Mono — delayed sounds will be mono. The left and right channels will be summed and produced joined on one channel.
Stereo — delayed sounds will be stereo. In this case, the left and right channels will be individually delayed on each channel.
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