{"id":2626,"date":"2016-03-21T18:30:00","date_gmt":"2016-03-21T22:30:00","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=2626"},"modified":"2023-05-09T15:38:19","modified_gmt":"2023-05-09T19:38:19","slug":"effects-101-delays-explained","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/effects-101-delays-explained\/","title":{"rendered":"Effects 101: Delays explained"},"content":{"rendered":"

Delays, which can take the shape of subtle echoes to feedback-drenched textures, are one of the most popular effects in music production.<\/h1>\n

In the previous entry of Effects 101<\/a>, we talked about reverb<\/a> and its practical uses in our productions. Today, let’s talk about delay and why it’s one of the most important effects to master.<\/p>\n

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What is delay?
\"delay_diagram\"<\/h3>\n

The way a delay works is pretty simple. An audio signal is passed into a temporary memory buffer, and then it’s recalled from that buffer at a later time. This time constant is known as\u00a0delay time<\/strong>. If you’d like to create a repeating echo effect, you would feed some of the delayed signal (the output) back into the delay line (the input). Be warned: too much feedback can cause a total feedback loop in your delay, so use feedback with caution. Refer to the diagram above for a graphical representation of a standard delay’s signal flow.<\/p>\n

Delay parameters<\/h2>\n

Here are some typical delay parameters broken down for you.<\/p>\n

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  1. Delay time<\/strong>: This is the time that it takes for\u00a0one single delay to occur. For example, if you have a clap that goes into your delay with a delay time of 200 ms, you would hear that same\u00a0clap 200 ms later. Delay times are usually either in\u00a0ms<\/strong> or\u00a0beat divisions<\/strong> (1\/4, 1\/8, 1\/16, 1\/32, etc).<\/li>\n
  2. Sync<\/strong>: This option allows you to sync your delay with your DAW’s BPM. It will come in handy when you want to\u00a0sync up your delays with your song.<\/li>\n
  3. Low cut \/ high cut<\/strong>\u00a0(filters)<\/strong>: Most units can filter your delayed signal using high pass and low pass filters, allowing you to shape the sound of the output.<\/li>\n
  4. Feedback<\/strong>: This is the amount of the signal that you’d like to feed back into the input of your delay to create echoes. The more feedback, the greater the number of echoes.<\/li>\n
  5. Phase<\/strong>: This parameter simply inverts the phase of the particular channel. This allows you to create ultra-wide stereo delays.<\/li>\n
  6. Mix<\/strong>: The mix setting on your delays allows you to control the balance between the dry and wet signals. When using a delay on an aux track, set the mix to 100%.<\/li>\n<\/ol>\n

    Practical applications<\/h2>\n
      \n
    1. Quarter note vocal fill<\/strong>\n