Learn Delay in Studio One

1. Introduction: Hi, I'm Gary Hibner, and welcome to this class on what delay is and how you can use it in your songs and productions in studio One. In this class in particular, we're going to be looking at the stock delays in studio One and how you can use them and how you can get the best results from them and after your staple effects like EQ and compression delay is the fact that I like to go to to create some interest and depth dynamics. And there's so many ways that you can use it. You can use it simply to create a doubling effect, or you can go all out and create new rhythms by using delay effects. I'll be showing you the most common ways to use it, more creative ways to use it in your productions. I'll be using the stock delays in studio One so that you can follow along your side as well and do the same steps as me. After watching this class, you'll have a much better idea on what delay is and how you can use it in your songs and productions in studio one. Now let's jump in and start with the glass. 2. Delay Parameters: Let's start off by taking a look at the typical parameters that you find on a delay plug in. Obviously, I'm going to be focusing in on the stock delays that come. A studio one, the simplest way of thinking about a delay is you've got a signal that comes into the delay effect. And then that delay signal is delayed, meaning it's delayed from the original signal. And you blend the original signal with the delayed signal or that echo that you hear in studio one. We've got four stock delays that we can use. We've got the analog delay, this guy over here. We've got the beat delay, the groove delay, which in essence is four delay units bundled into one. And then finally, the delay pedal in the pedal board. The important thing to note is that with all these delays, you've got three parameters that are common amongst all of them. And that is the delay time, the feedback, and then the mix style. It looks slightly different on all of them, but as you can see, if I go to the beat machine, you've got your delay time, your feedback, and your mix style. Over here with the groove delay, you've basically got four delays in one plug in with each one you can set the delay time. You've got the feedback, and then you can mix them in. Likewise with the pedal board here you can see you've got delay time here, your feedback and the mix. So those are the four most common parameters amongst all these four stock delays and third party delay effects that you get. And then from that, you can start coloring the delay with LFO's filters width enhancing techniques and all of that. So to start off by explaining delay, very simply, I want to use the analog delay. So I'm going to close these ones down over here and I want to show you how this works. So I've got a simple part over here. It's just a synth in the form of the Ta synth using a S wave form. And it sounds like this. Now I'm going to add on my delay, so I'm going to enable it. And I've got a delay time set to a specific timed value that's syncing with the tempo of the song. And that's eight notes. And I've dialed in a little bit of feedback and then mixed in the delay with the original signal, and you get this. You can hear those echoes. I pull this trial weight down. This is the original signal and as our blender in the delay signal, you're going to hear that mixed together with the sound. With delay, we get this nice characteristic where we can add in these echoes that can enhance the sound. Either it's going to add a repeat echo effect like this, or create some rhythm, or create some color to the productions, and you can feed the signal back into itself. I'm going to set the dry, wet mix at about 30% Pull this feedback down, I'm going to play back. If I pull this feedback up, it's feeding more of the delay signal back into itself to the point where it'll start actually self isolating, it can get quite drastic. That is how the delay is working. You're setting a time and the signal is coming in and then back again into the plug in. And you blend the two together. Now obviously, I'm synking this to my tempo of my project. This is beat sync. I've got a tempo of 84 beats per minute and it's got eighth note delay echoes of the original signal. Now back in the day when delay units were first coming in, we didn't have this advancement of being able to sync to tempos and projects. What we actually had was setting the time manually of the delay, so you've still got that option. It's actually quite nice to sometimes not sync it to the tempo and use the delay time. Now this delay time on this analog delay is at one millisecond all the way up to 3 seconds. So a very big time difference that you can use to set your delays. Now I want to play back this part and slowly start increasing this time. What you'll hear first is the delay with no delay time. And as I increase that delay time, that's a very short delay. I'm using a very short delay time. I can increase that time. Obviously as I'm moving it, you can transition between the times all the way to a super long time. You're hearing a very space gap between the original and then the blended signal. But we're going to start off by using sync values and then later start looking at how I can use them. Not sync to the depot of the project. What you'll notice is with it sync to the project, you've got different interval values. You've got 4 bars, then down to 2 bars, 1 bar, and then from 1 bar you start going down to quarter notes, eighth notes, 16th notes, 32nd notes, And you get all the way up to 64 notes. But what you've got in between as well is this and D. T stands for triplets, and then D stands for dotted. So you can have a delay with a dotted feel or triplet feel that's just dividing up the interval value. And it adds a sort of like swing to it when you have it enabled. That's just a very quick background on the most common features that we can see on delay, which is the delay time, the feedback, and the mix. 3. The Different Delays: Now I want to quickly talk about what differentiates the different stock delays. Looking at the analog delay, we've got our time and our feedback, but what we also got is a color section which has a filter. With this filter we can add a low cut and a high cut. And add some drive, which is some saturation, so it's going to give a warmer feel to the delays. Then you've got this motor section here that adds in an inertia section which takes the time and adds a variable to it, so it's not always the same with your echoes. You can add an LFO. With this LFO, we can take this to enhance the delay time by adding a low frequency oscillator to the envelope of the delay. Then we've got a width section where we can enhance the width of the delays. Finally, we've got this global section here, which is the dry and weight. Then moving on to the beat delay. With this, we've got the beat section here with the beats and the feedback. The beats is the time. What to taken to note is with the analog delay, we can sink the delay to the project. Or we can unsink it and use a millisecond value where with the beat value it focuses purely on locking to the beat obvious song using different interval values. Then you've got a modulation section. With this modulation section, you can add a ping pong wide delay. The cross delay adds a delay between the left and the right side of the stereo field. You've got a color section, which is a filter with a low cut and a high cut, and then you've got the global mix. Now let me talk about the pedalboard before getting to the groove delay, I'm going to enable this. What you've got is you've got your feedback, you've got your mix. You can set your delay time by beats, or you can choose a millisecond value if you click on the sink button. And then over here you've got your low cut and your high cut filters. Now finally, let's move over on to the groove delay. Now this is really the big guy with all the delay stock effects that we have in studio one. You've got these taps and what this basically means is that you've got four delays going through In this one plug in, you can set the delay time for each tap. You can add the feedback, you can set the level, pan it to either the left or the right in the stereo field. And then you've got your filter section and you've got your global premters here where you can globally set the feedback and the mix style. Now this is quite an advanced delay plug in, so I'm not going to go further into it right now. But the important thing to note is just that you've basically got four delays, like a multi band delay in one effect. So that is the four stock delays that we have in studio one. I'm going to take you through all of these throughout this course, but I'm also going to tap into how you can use some third party delay effects as well. 4. Different Delay Lengths: Now let's take a look at the different delay time lengths. The most common three that you're probably going to be using is quarter notes, eighth notes, and 16th notes. I don't think you're really ever going to jump for a four bar delay time, but you never know. Sometimes you might need it. The most common are quarter notes, eighth notes, and 16th notes. Let's take a listen, and then we'll obviously also take a listen to the dotted fields and the triplet fields. This is my synth part that I'm playing back before any delay. Now we're going to enable the delay and we're going to be hearing a quarter note with about a 30% feedback and a 30% Dr Wet mix. Now you're not really hearing anything because I'm actually using quarter notes with the synth notes. If I had to maybe go in and meet every second note, this is what the synth sounds like without the delay. I'm going to o the delay and you're hearing the repeats every quarter notes. That is not delays. I'm going to take off those muted notes. Go back to my delay for this time. Let's take a listen at eighth note delays. It's a delay. Repeats or echo every eighth note. And I'm using quarter notes for my synth part. Now let's go to 16th notes. Can you really sort of bouncy feel with that short delay? Now, when we get to 32nd notes and 64th notes, the delay time is a very, very short take list. Novia, Probably use that for sort of a creative effect somewhere now going to 64th notes. Now that delay time is actually so short that it almost sounds like a reverb, that's actually a good thing to consider. Some other effects like chorus reverb, flanger, and phaser are actually just modified versions of delays. So they're using delays coupled with some other modulation effects to create that enhanced moderate effect. That's a way of thinking about delays. You can use different delay times for different effects and as you saw, you could have longer delay length times or even shorter ones. Creates a room sound to it. Then between each interval value, for example, between the eighth notes and a quarter note, you've also got triplets and dotted feels so. For example, in the eighth note, if I drag up, I'm getting a triplet quarter notes. If I drag up again, I'm getting a dotted eighth note. If I go likewise the other way, here's my eighth note, I drag one down. I've got a 16th dotted and then an eighth note, triplet. And the difference between a triplet and dotted feel is a triplet is three notes in the time of two. So instead of going 12, you've got 123. While a dotted note increases its length behalf of itself, that's the theory between the two. And each has a different feel and can change up the delay echoes that you have on the plag in. Let's take a listen between the straight feel compared to the dotted and the triplet. Let's start off with the eighth note delay, then going down to the triplet, and then up to the dotted. You can hear the difference in how each one has its own different feel when you change between the dotted, the straight, and the triplet. Now that you know about different delay lengths, next let's check out the EQ section and how we can use that. 5. EQ and Filters on Delay: Now let's focus in on the EQ, or filter section. In the analog delay over here you've got this color section and you've got a low cut and a high cut. And what this allows you to do is cut out some of the lows and the highs on the repeated echoes of the delay. To demonstrate this, I've got a drum track over here, and it sounds like this. Before I've added any delays, just a very simple drumbeat. Now what I'm going to do is I'm going to arm this analog delay. I've got an eighth dotted note delay for the time I've set the feedback at about 25% and the dry wet is at 30% and it sounds like this. Now with the delay, you can hear those echoes that are happening. If I turn this all the way up to 100% that is the delays that you're hearing. Where at 0% is no delays. Let's set that again at 30% Now I want to show you how I can use these filters to lie, to filter out what you want to hear in the repeats on the delay. So I'm going to play this back and start cutting out some of the lows here, how those echoes are focusing on the high end. Likewise, if I pull it the other way, bring that locate down and then start bringing down this high cut, I can filter out exactly where I want those repeats to be. Maybe for example, I want those repeats to sit somewhere around about 250 hertz and 2 kilohertz every 2.5 kilohertz. I'm filtering out where I want those repeats to be, or maybe I want to shift them higher up. Then I can change that locate and high cut using this filter section or this EQ section is a great way just to fine tune where you want those repeats to sit in the frequency range. I'll demonstrate this on another plug in, so you can see that it works exactly the same way. For this, I'm going to go for the petal board, on the pedal board, I'm going to load up an instance of the delay. Let's set the same thing for beats. I'm going to set it to eighth note dotted with the mix. Let's set it around about 30% like we had with the other one, feedback at let's say 25% Here are the filters. The same thing is I've got a low cut and a high cut. You can see the low cut is at 20 hertz. And it goes all the way up to 1,000 hertz, where the high cut is at 20 kilohertz. And you can go all the way down to 1 kilohertz. So basically, if you're going like this where you've got the low cut all the way up in the high cut all the way down, it's pretty much sitting at 1 kilohertz. So let's hear what it sounds like with a different delay. Maybe increase that mix a bit. Obviously, this plcul is slightly different to the algorithm of the other one. Now I can filter out those repeats, push up the feedback, push them to the high end, then maybe filter them out lower. So what you probably would have noticed is that even though we're using the same plug in settings on a different delay plug in, There is some differences because each plug in has been built differently with the Stomp box style delay. When I'm pulling these filters, there seems to be less effect than when I'm going to the analog delay and tweaking this low cut and high cut. So just bear that in mind when you're dealing with each plug in. But the big thing to take away from this video is that you can see with the color section or the filter or the EQ, as you can fine tune where you want those repeats of the delay to occur in the frequency range. 6. Inserts vs Sends: In this photo, I want to talk about the difference between using delays as insert effects and as send effects if you're using it as an insert on your track. Over here here is your insert section and you're going to add the delay right there. Now if you add it as a send section, you're going to have a send here that's going to send to a bus track or an effect track that has the delay and each has its own benefits. For example, on this piano track, I'm just going to solo it and play it back for you. It's signing a bit bland and I want to add a delay to spice it up. I'm going to go for the analog delay for this. I want to set an eighth note for the time. Now let's play back and tweak some of the settings. Add a bit more. Feedback increases trial weight. Then the repeats I want maybe to happen higher in the frequency, the delay. Now the delay, now that's using it as an insert. Let's say I'll apply that same delay effect to other tracks. Well then I might have to take the delay and copy it across to the other tracks. But a more beneficial way to do it is to use the delay as a send. I can take this drag on my section now. It's going to create an effect track over here for me with the analog delay as an insert. And with the piano, the pianos being sent to delay effects channel a track, you sending a level from the track to the effect. And also make sure that when using a delay on Ascend Mix is set all the way to 100% This is usually locked and set at 100% by default. But if it's not, just click on this unlocked button and change it all the way to 100% Now I'll play back. I can dial in how much of that track I want to send to the delay, Then I can do the same and add that same delay to my other tracks. I've got these guitars and I want to add some delay to them as well. I can dial in how much of that I actually want to use now. I can go to other tracks as well and do the same thing. Let's say I want to go across to my drums and I want to add some delays on them as well. So now I've got the drums, the guitars, and the piano all being sent to the same delay. But obviously, this is a bit much so I want to take it off. Maybe what I'd want to rather do is add the delay to my snare. If I want to use a different delay for my snare, well then I can bypass that send and add a separate instance of a delay over here. So what you can do is make the best of both worlds by using delays as inserts and delays as sense for this, I'm going to say it's the 16th notes. Just test it out. Maybe less feedback and just filter them out. They can see the difference between adding delays as inserts and sense and the benefits of each one. 7. Using Short Slapback Delays: Let me show you how you can do slap back delays. Now, a slapback delay is a short delay. Often you're only hearing one repeat or one echo of that delay. And it's a very short interval between the original sound and the delayed repeat. But it works great in adding a nice quality to the sound, especially of vocals where it can fill out the vocals. And with a guitar where it can just color it slightly. Let me show you this video. First off, this is the song, I'm going to use row and I want to first try it out on this main vocal liver here. So I do have some processing on, let's just hear what it sounds like and then I'll take some things off and then add the delay tell it's got some rebid on, I'm going to pull the rebid off. That's a dry vocal. Now for the inserts, let's add an instance of the analog delay. Starting off with an eighth note delay, pull it down to 16th and then down to 30 seconds, tell ten here. Now that is giving us a slap back type side, so this is said at 32nd intervals. And if I turn the sink off, you can see that the time is 83 milliseconds. So a slapback delay is anywhere between 45 milliseconds and 120 milliseconds, so a very short side. So if I had to pull this down maybe a little bit, let's say let's say 245 milliseconds tell I'm gonna mix the try wet so this is dry row then adding it in rowe and up a slightly to 75 milliseconds to tell tell the pop. So you can hear that you're just getting a slight extra echo. And this works really well in the mix, especially with vocals. It starts filling out the sounds. What I'm going to do is play the vocal back dry, then I'm going to add in the delay and then add in the reverb. So I'll just mute these other vocal tracks, so we're just hearing that one vocal tone way too dry. Add in the delay so it really fills it up. And then now with the reverb, take them off. R way too dry. So hearing again with that analog delay now with the reverb. Very nice. Now let's check it out on some guitars. So I'm going to go over to this track over here. Just center it's play it back by itself. That's just a guitar with some distortion. Nothing else. There's a bit of reverb. I'm going to turn it off. And then let's add an instance of an analog delay dial in the time of 75 milliseconds and now check it out. Pull this dry weight back. Very nice. Maybe with a mix of about 20% I could do that to both my guitars. So I'm going to pull this guitar in as well. Just go across to the mix. Hear my guitars, copy this across, pull my reverbs on, and let's hear those guitars without analog delays. It sounds a bit too dry even though I've got reverb on now with the delays. Just nice fills out that side. That is how to use a delay effect as a slapback delay. So like I mentioned, a slapback delay is anywhere between 45 milliseconds and 120 milliseconds. If I switch over to sink, this is around about 32nd notes. But not always give or take, it just depends on your tempo. So just switch over to sync, dial in the time 45-100 milliseconds and then check the dry, wet mix and here how it starts filling out that sound with that slight repeat that you're hearing. 8. Stadium Style Delays: That's a short delay around about a 32nd notes. Now I want to show you how I can get some really cool stadium style effects using 16th note delays. I'm just going to remove those delays from my guitars. I also want to remove it from the vocals, so I'm just going to go to my vocal track here and just remove that delay. I'm going to bring back these other vocals. I actually want to go across to my main mix over here. And I want to add an instance of an analogue delay. I already had one here, so I'm just going to remove it. And remove that and I'll show you what I actually want plant. So I want to show you how you get a sort of stadium style effect where it sounds like your mix is actually far away and sounding quite in a big space. So I'm going to go for the analog delay. I'm going to pull this dry weight mix down. I'm going to play back Modio, that's the eighth notes. So let's pull this down to 32nd notes. That's where you're slap dack layers. Now pull this to 16, pull this dry weight up in here. It sounds like you add a stadium. Another really cool thing to do is to add an EQ after this and just shove off some of the lows, and shovel some of the highs. Because what happens when you're hearing a stadium sound? Those sounds are getting lost when you're hearing it back from a far distance, maybe just pull back that dry weight. Keep that background again without the facts and now giving an instant stadium effects. So you can maybe use this as a creative way in your songs. Maybe you've got a bridge section where you just want to drop everything out, add a delay, add an EQ of fat to shove off those EQ's, and let's give that distant stadium effect. As you can see, you can get some really creative results working with 32nd note delays to 16th note delays and using it on different types of material. 9. Delay Throws Method 1: In this video, let's take a look at delay throws. Now, delay throw is we add a delay send effect. And you throw that fader up on that send to create a delay at a specific point in a song. This works really well, for example, on vocals, where we've got the vocalist singing and you throw that delay up. So you've got repeats on some of the parts. Let me show you how this is done. There's two methods. I'm going to first show you the first method, and then I'll show you the second method in the next video. Starting off, I want to use my vocal track. This is the vocal with some reverb and some slight processing over here. Tell here. Now I want to add two delays. First, I want to add an eighth note delay just to create some extra ambulance to the vocals. And then I'm going to use a quarter note delay for the slap back. I'm going to go to my brows panel over here. I'm going to go to Effects. Look for my analog delay. Here it is, over here. I'm going to drag this on to create my first send. And then drag it on again to create my second send. I'll close this down. Now I want to move across to my X. I'll press F three to bring up my mixer. And then these are my two delays. I want to be my eighth note delay. I want to be my quarter note delay. I'm just going to label them accordingly so I know what's happening. Then on this eighth note delay, I'm going to open it up, make sure that the delay time is set to eighth notes and the dry weight is set all the way to full. One thing I want to mention is when using a delays ascend, always make sure that this dry weight mixes all the way across to 100% because you just want to hear the delayed signal. I'm going to close this down and then go over, it's my dine delay for this. I want to set this two notes. There you go. We've got two delays here now. I want to pull this one down. And I just want to blend the eighth note delay in and then show you what's going to happen with the delay throw. Well, tell the, as I stop that you can hear the eighth note delay. The now I want to take this ad note delay, throw it up for specific sections on the song. Take a listen here, maybe. Best bet'll be to open up the mixer. Pull this down so we can see that vocal part, which is over here. So here we go. Let me give an example. Downellell, the heprollrollwnell, the he, Well, now let's automate those movements in so that it writes it into the track and we play it back, we can read those changes. So to do this on my track over here, I'm going to set the automation mode to, right now, I'm going to play back and make those changes to that fader and then you'll see that it records it into an automation name. There we go down the rolling down the he roll, start playback. You hear that out there. So there go, I can set the automation mode to read. Now in our playback it's going to jump that Fed Rap, reading those movements tell tell the roll. Now that's it within the context of the mix. I'm going to unsell this and just play it back so you can hear what it sounds like. Now I'm just going to mute these other vocals, So we only focusing in on this vocal track gear row. Have we just put the volume up, so that is how to create your delay throats. You create a delay on a soundtrack, and then you automate the movements of adjusting that sound level to the delay. That's the one method. In the next video, let me show you another way of doing this. 10. Delay Throws Method 2: In the last video, I showed you how you could do some delay throws by using a delay on the sand and then using some automation. But now let me show you another method. I'm going to undo those changes, take away that automation. I'm going to remove this delay. I don't need that. What I'm going to do is duplicate this track. So I'm going to right click on it and create a complete duplicate that's got the same chain of effects and the audio file. Now what I want to do is I want to cut out the sections that I want to add the delay throw on. I'm going to listen back here here. Sound Heal over there. So I can pull this there. We roll. So I want the rolling and the rolling there. So I'm just going to cut out these sections. So I'll take that, remove that, pull this in here. And then what I've got is this, maybe just catch the beginning of that rolling there's pull, pull it in a bit. Just want to catch it. Put it over there. There we go. And then here. This will be there as well. You actually don't need the full word and I'll show you why. So I'm going to pull these here and just to neat things up, I'm going to add some cross fades, so I can fade in and fade out. I'm just going to quickly make the changes to these ones over here as well. This is over here, down till there. And then rolling here. So I'll just cut that and quickly addit that. Add the fades. And there you go. So I've got the sections that I want to add the delay to. If I just zoom out, there is those little blocks over here. And now instead of using a send, I'm going to add an insert of the analog delay and set that to my quarter notes. And then take a listen, I want to solar both tracks. Tell tell, roll, roll. So hear that instead of me having to add a sand and then add some automation, I can just create a new track and copy the parts that I want to do the throws on. And to make it even better after this delay, I can add an EQ. I'm going to filter out some of the lows in the highs. I could do this on the filter section on the delay as well, but for now I'm just doing on Kelly. Maybe on EQ as well. Do a slight bump up in the high mids. Then after that add some bit crushing or some saturation. So I'm going to go for the red light distortion and just pulling that output down because it's going to be a bit louder with the extra saturation. Now take a listen now, well, the heap you find it's a bit much you can pull back, maybe pan, It's the one side, so sell the heap, roll. That is a bit too much drop, so I'm going to pull that down and pull the output down and maybe just mix it back a bit. Taking one, we'll listen down, sell, sell the heap, row, row. And now with the music down, sell, sell, row, row. Very subtle, but it's a nice way to create your delay throws like you saw. You just take the track that you want to add. The delay throws on creates a complete duplicate. And then cut out the parts where you want to have the delays on. And then add the delay as an insert. And add some extra processing afterwards to sort and alter those repeats on the delay. 11. Ping Pong Delays: In this video, I want to show you how you can create extra width and interest in your productions by using the width parameters that you have on your delays. For example, here I've got the synth base part and it sounds like this without any delay. Okay, now let's enable this delay. What I've got is a dotted eighth note set with a feedback at 25% and the dry weight at 30% Now check a file, expand this width, specifically if you've got headphones on, take a listen. As I push this further, you've got the echoes or repeats of the delays bouncing between the left and right speakers. I'll put this width back, but more narrow with that spread with the delays. But as I push the sub, get some great width. I can have it quite subtle by pulling down the dry weights or if I increase the dry weight, a way more pronounced effects. I think somewhere around about 35% will sit good with this. If I add in the drums, No delay with width sounds quite empty, but as you add in the delay with that width, you get that stereo spread by adding that width because the echoes are bouncing between the left and right speaker. That is with the analog delay. Now let's take a look with this synthpot over here. This is a synthd that sounds like this. So it's just got the short stabs with the synth. And I want to use the beat delay to show you how you can also use this for some extra width for the beats. I'm going to set them to 16. Now I've got the section here, the modulation, where I can choose the same thing. If you just take a look on the analog delay, we had the width and with the ping pong mode, it could either be off or it could be summed. The same with the lead over here. I'm going to choose the sumped mode and increase this width here that, between the left and right. And this is using a dotted feel for this. I could change it to something else like a half ping pong triolic, same you had the dotted and then double. I like the started with the beat lay. You've just got some extra options over the analog delay. Now what I also want to show you is this cross delay option. With this cross delay at zero, you're getting the ping pong sent to the left and mono. And the right and mono. Now if you use this cross delay and I pulls all the way to the left, it's delaying the left to the right side by 50 milliseconds. And if I do the same to the right, the same, there's no delay on the left side, but on the right side you've got a 50 millisecond delay. This is a great way to add some extra interest to those ping pongs. You can hear that delay to the left, back in the center. And then doing this, just that slight bit of delay creates a detuning with the effect of the delay compared to when it et cetera. Now I'm going to combine the synth base, which has a dotted eighth note ping pong delay, with the synth lead with a 16th note ping pong delay. And then bring in the drums, maybe of these leads, I don't need as much with the mix. If I find the bases too much, I could go to the dry wet and bring some. I find by using these width parameters on both these two plug ins really helps spread the stereo spread. Specifically, if you, for example, putting some headphones on and taking a listen and creates extra interest in your productions. 12. Width with Dual Delays : Now I want to show you another technique that you can use to create width, and that's by using dual delays. I'm going to create two sends. On each send, I'm going to have a delay, and each delay is going to have a different setting. And we're going to pan one to the left and one to the right. It does require a few extra steps, but you can get some really interesting results with it. I'm going to work again with the synth lead part over here. And then I'm going to open up my browser and I'm going to drag the analog delay onto the sense section of this track. And I'm going to drag two instances of it. I've got two instances of the analog delay over there. I'm going to close this. Go over to my mix console for the first delay. Let's dial in a setting of 105 milliseconds. It's quite a short delay. Then on the other delay, I'm going to add an even shorter time. Let's say about 50 milliseconds. The one is 150 milliseconds and the other is 50 milliseconds. The best way for this is to change the channel mode to mono. So I'm going to click on there have that is mono. And this is mono, I'm going to pan one to the left and then one to the right. I'm working with two mono tracks. One pan to the left, one pan to the right. Now I'm going to play back, but first I want to select these two tracks and pull them down. And I'm going to slowly increase them and you're going to hear that delay where one is in the left and the one is in the right. So get me a slight echo. I could go into each delay and tweak them over here. I can maybe filter out where those repeats are happening. And the same with the other. I could go into this and filter those delays to the higher frequency. For the feedback on the shorter one, I want to higher feedback. Then this guy with a shorter feedback, pull these back down and then pull them back up. These faders are both going up and down because I've got them both selected. If I just had one selected and pull, let's say this fader, only that one would go down. I'm to undo that change, maybe a good thing to do is group these together. I'm going to write, click on one of the tracks while they're both selected and say group selected tracks. And I'm going to call these delays. If I move one of these, they both move, that's much easier. Even if I've just got one selected, they're both going to move. Now, let's use some longer times. Going back over here for this, let's go to the sync mode and choose a 16th note, maybe for this one over here. Let's sync it and choose it. And let's choose eighth note dot. Pull them down, getting like a ping pong effect. But you've got more control here. We can go into each delay, change the timing, the feedback, and the filter section. If I bypass the grouping, I can just hold down option or Alt on the keyboard and then drag. And then it bypasses the grouping because maybe I feel like this side the volume needs to come up. Then when I let go, I can group them again. That's how to create some extra width using dual delays, where on each delay you can set up different settings. 13. Delays and LFOs: In this video now, let's talk about the LFo section. I'm going to be using the synth base part again. That sounds like this. And we're going to have a delay using a dotted eighth notes, maybe for this, I'm going to pull the width down so we don't have that ping pong effect. Now let's talk about an Lfoan. Lf is a low frequency oscillator that modifies another parameter. In this case, it's modifying the time on the delay. As I increase this amount, it's going to modulate the time. Meaning it's going to take the time and move it like this. Depending on the speed setting that we got set up. The way it's going to be modulating it is by using different wave shapes. We've got a triangle, a saw tooth, and a square wave form, and each one will have a different result on the audio. I'm going to leave it set to triangle and we're going to set the delay time back to dotted eighth notes. And I'm going to set the speed at 1.2 hertz, so it's a very slow speed. And I'm going to increase this amount. And you're going to hear how the oscillator kicks into action. I can either go in the reverse direction or forward. That's moving that speed up and down. But without me having to go in and shifting it by increase that speed, it's going to happen a lot faster. Then I can also have a super slow speed. It's going to feel like the pitch is changing by having this lipo modifying on the time. Now let's choose another wave form. Let's go for a sound wave form, increase the speed. This is a bit more of a smoother mode on the delay time. Then I've got the saw tooth, then the square wave form that's on and off, either one or the other on that wave form. Let's have a slow speed and increase that amount. It's going to feel like it's stepping through those times. I can also sync it to a tempo. This might work quite well if you wanted to lock in with the grid and not change at a more random time. I'm going to set it to sync and have it at every quarter note. Where is that? Right over there. And I'm going to set it to a Swtoth. We're going to have this amount at zero and I'm going to increase it and then reverse it. Take listen here, that's locking nicely with the quarter note value. And then reverse it. Let's set it somewhere around here. And now let's use some of the other parameters that we've used. So I'm going to use the low cut, so the repeats are sitting in the high frequencior. Then let's add some width and I'll sat in our drums, let's mix in so he has nothing and then the dry weight. And then change the filter. That's how to use this Alpo to modulate your delay time. Using different speeds and wave shapes will have a different result on that delay time modification with the Alpo. You can definitely use this to add some variants into your audio. Like you heard, it sounds like a pitch variance by shifting between the different delay times. And you could use this maybe to create a sort warbly effect in your audio and your productions. 14. Delays and Saturation: Now another interesting thing to use with delays is combining some form of saturation and distortion with the delay. I've got the synth base part over here. It's using the analog delay with a dotted eighth note. I've also got some extra ping pong width on there. Now instead of using the delay as an insert, I'm going to go across to my mix console and I'm going to drag this onto the send to create a send track. And I'm going to remove this delay over here. Over here I can choose how much of that synth base is being sent to the analog delay. Then after this in the chain on the analog delay, I want to add an instance of a distortion effect. What works really well is this red light distortion. I like the chain going from delay into the saturation plug in. But you could do it the other way. We have the distortion or saturation before. But I find you get the most enhanced effect by using it this way. Now I'm going to dial in quite a heavy drive setting and tweak the filters on this plug in N output needs to be coming down because it is driving it too much. Pull out some of the lows and a bit of those. His, what's happening is those echoes or repeats are getting saturated. The base is coming into here, you're getting the analog delay and then those repeats are getting saturated. If I pull down this output, I don't have the saturation happening. If I pull this up, can hear how you get that saturation. I could try a different type. Let's go for fuzz an op amp. You've got different types of distortion or drive, or saturation that you can use now. I just find this is a great way to color those echoes on your delays. We had that before. It sounds fine, we're getting the repeats, but by adding a bit of that drive saturation, getting some lovely color to that sound, I could even increase the type of distortion that's being added. But just bear in mind each time you push these parameters, you're probably going to need to pull down the outputs before it's okay. But very nice, that extra color. 15. Delays and Reverbs: I can get some really interesting results when you combine delays with reverb. In this video, I'm going to show you an interesting way on how you can chain the delay into the reverb as sense and combine the two and get this very ethereal sounding sound from the repeats of the delays going into the reverb. I've got this piano part over here on this. I want to add a delay on the send. Someone jumps to my browse panel, Add an instance of the analog delay that creates a delay send over here for me. For the delays, I want to set them to eighth notes. You can hear those repeats that are happening. Now, I want to show you how when you're adding or chain together a reverb with this, it softens those repeats of the delay and creates this nice blend of a sound that can wash through your mix. For the reverb, I want to add it as a send on the delay send. So if you look at the tracks, I've got the piano with a send going to a delay. And then on this send I'm going to add a reverb. For this, I want to use the room reverb within studio one. For the tail or length of this reverb, I want to set it quite long, 7-9 seconds to make those repeats that you hear tailing off like that sound even more distant. What I can do on the reverb is add an EQ afterwards. And what makes things really sound more distance is when you get those repeats, you start losing the high frequencies. So I'm going to use a low cut. With the high cut, I'm going to cut to about 4 kilohertz. So you're cutting out quite a bit of this high frequencies. I want to also cut some of the low frequencies, but I don't want to use a low cut, I want to use a shelving type Q. I'm going to enable this low frequency over here, set it to shelving, and I just want to shelve off a bit of those low frequencies to around about 200 kilohertz. Now, I'm still getting quite a bit of that dry piano signal coming through. I want to be able to mix the dry signal with this heavily processed wet signal here with the sense to do that. I can set the send fade over here to pre fader, then if I drop this level, I'm still getting the level of my piano sent to these sends, that is the reverb and the delay sends. And I can reintroduce this on to just to show you what it sounded like in the beginning and where we've gone to. I'm going to set this to Unity gain. Turn off these sense, this is the piano before then with the delay. Then with the reverb, with the EQ filters, just mix in that dry signal with the process. Sound I can pull in some drums and then I can add in my drums to mix in that piano processed reverb delay Sound with my mix. And maybe send those drums to the reverb as well so you can get some very ethereal sounds combining delays with reverbs. 16. Delays and Gates: Another neat thing to try it is using gates on your delays. What the gate is going to do is it's going to allow you to clamp down on those repeats and choose how many repeats you want to have. You can filter them and change an envelope on it to change it, attack, and release on those repeats. Now that sounds like quite a bit, so let me show you how it's done. I'm going to continue with this piano track here where I set up the delay and the reverb, and now I want to use some drums with it and I want to use a gate delay on the snare. This is what it sounds like first. That is the sound of the snare that I want to process. And I'm going to use the same delay that I've set up here on the send. So I'm just going to take this and drag it onto the send. It creates a new send track that's got the same delay using the eighth notes. And I just want to rename this Sound. What I'm doing, this is going to be gated delay. I could solar the snare and play back. You're hearing those repeats here that's happening from the delays. Now, after this, I want to add a gait. With this gait, you can set the threshold. Anything at that threshold point will get cut out. I increase this threshold, can you hear how it's cutting off anything that's going below that threshold? Then I can fine tune the amount of range for the reduction that's going about 18 DB that's being reduced. Or I could reduce it by quite a bit. Then I can jump over to the envelope section and shape those repeats. I can soften them by increasing the attack. Alternatively, I could also increase that release, but what I find works pretty well is a short release with a bit of attack. You can also change the whole time just finding cheating this a bit more. This as before, there's way too many repeats happening there. I'm going to clamp down using a gates that sounds like this. Now, without the gates just getting a bit messy there with all those repeats, I like it with that gates on. Before I added the gated delay, nothing but dry. Now that gated delay just adds that extra interest. Obviously using the same delay time that I'm using with this piano is going to help sync everything together. Obviously on my meter over here I can see that reduction that's happening from the gate. Try that out. Use gates on your delays and clamp down on those repeats and filter out and fine tune how those repeats are happening in your production. 17. Automation : In this video, let's explore automation in more detail. Now, I did cover it when I went through the delay throws, I did some slight automation. But in this video, I'm going to show you how I can go quite crazy and automate quite a few parameters and see the result. I've got this lead synth over here. I'm going to add an analog delay. This is got eight time for the delay time. Now I want to automate some of the parameters. I'll automate the time, the feedback, and maybe the width as well. Let's see how to do this. What I need to do first is go to my control over here and choose a device that I'm going to be using to assign two parameters on my plug in. This is my launch key keyboard. Now I'm going assign some dials. I'm just going to click Midi. I've got a control there, I've got a control there, and I've got a control there. If I just drag that bigger, I've got those controls, I can turn off Midian. Now what I can do as I'm moving and control, you can see that it is over here. And then I can click on the time. If I click this, it links the two. You can see now how that is linked as I move it. Let's go for the feedback as well. I'm going to click on that move my controls, that's control four, and I'm linking that as well. Lastly, I want to link the width. I'm going to click on that, move my controls control seven and link that. Okay, there we go. We've got that. Now I want to turn the automation mode on to right. I'm going to move this down over here and I'm going to play back. As I play back, I'm going to move some of these stars and I'm going to loop back again. So that as I loop back again, I can move over and edit some of the other parameters. Actually, maybe I should set the mode to touch because as I make a change, it'll right it in. And as it leaps back again, it's not going to right over the automation. So let's check this out. Okay, now we're, we move the next. This is going to read the feedback. When you get those large amounts of feedback can sort of self isolated to each other. And now let's do some width. Okay, there we go. So I've made three automation changes to three parameters. I'm going to turn the automation mode to read, and if I click over here, it's going to reveal to me the lanes that have been automated. So I've got the delay time that's been automated. The feedback then, as well as the width, to create some ping pong delays to increase the stereo spread. Now if I unsolar this, I'm going to hear my base back and my drums and you'll hear how it really creates some crazy interest in your production. Now this has gone quite far, but just to show you how you can take delay to another level by using automation. So I'm going to open up the plug in again so we can see the movement of the parameters. Take listen there. That is how to go crazy by automating parameters on your delay. This could work really well if you've got like a sort of break in your song and you really just want to go wild, then throw on a delay effect, automate a bunch of these parameters, and see what results you get. 18. Sidechaining and Delay: In this video, let's take a look at how we can use delays with side chaining techniques. I've got the synth over here. I want to add a delay to this, and I'm going to use it as a delay send. I'm going to browse for my analog delay, which is right over here. I'm going to drag this onto my sense section over here creates a new send. I'm going to label the send side chain delay so that I know that it's different to just a normal delay send. Now let's dial in the setting with this delay. I'm going to keep it on eight. I just want to increase this feedback. Then I want to add a bit of width. Now that's sounding a bit hectic. What I want to do is I want the delays to duck down for parts of the mix and come back up. And a good thing to use for side chain sauce is a kick. For example, if I open up my drums over here, I've got this kick track over here. I want each time when it detects this kick to duck down those delays. To do that on my delay, I'm going to add a compressor after this. With this compressor, I need to enable the side chain and choose a source. If I click over here, I'm going to navigate down to my kick and choose this as a send source. Now when I play back, when I pull down this threshold, you'll notice that there's some gain reduction happening when detector kick, I'm going to go for quite a drastic setting, so instead a ratio of about 7.8 to one. Pull this down. Now I find that what works really well is a shorter tax time. And then increase the makeup gain, pull this threshold down even more. Can you hear those delays drop down each time There's a kick, let's push up that ratio and pull down the threshold. Let's have a shorter release. You can see that those delays are coming up a lot faster now let's have a longer release so you can really play around with this attack and release without the compression side chaning, it's a bit busy. And now with the compression side chain, I find out I could still have a shorter attack. And rounds now let's see what it sounds like. Within a film, I'm going to bypass the compressor. So first I just want to hear the delay send. Now I'm going to on the compressor, taking that sort of pumping effect with those delays and it's making space for those kicks. I'm going to go in further and tweak it even further with that threshold and ratio before way too busy, the delays just taking over and you can't hear everything else. And now with the compressor, just giving you that extra sense of space. So definitely try that out. If you're using some analog delays on some sense, try using some side chaining techniques like you saw. I just added a compressor with the compressor for the side chain enabled. I then chose the source that I wanted to use to trigger the side chaining on this compressor, and then I dialed in quite a heavy setting of compression. And you saw that when you fiddled with this envelope with the attack and release, you could have a lot of control on how those delays were brought down and then brought back up again. 19. Creating Dub Delays: In this video, I want to show you how you can create some dub delays. Now, dub delays is a technique that's been developed from the reggae and dub genres where you take your snare and you add heavy doses of delay and you automate or ride in the minds with a delay in the feedback. Now in this video, I'm going to show you how you can do it with this song over here. It doesn't have to be a reggae or dub song, but the technique is really interesting and you can use it in any of your productions. What I find, it works really well on percussive instruments. So I'm going to show you how you do it on a snare, and instead of using it on my main snare here, I'm going to duplicate this track. And I'm just going to select elements of the snare that I want to use. So if I just play back the drums here, I'm just going to solo them. I want that snare. Every second one from that, if I just take this out, I'm going to select that snare, cut that out, and then go for another snare as well. We're going to try every second snare and see if it works like that. If I find that it needs a bit more space, then I'll remove some of them. Those are the snares that we're going to be working with. Now what's really important is to choose the signal chain that we're going to be using. First off, on the second snare. I'm going to add a instance of the analog delay. With this, I'm going to set the timing to eighth note triplets. The feedback, I'll leave it 25% but what we want to do is automate this feedback. Also, I don't want any elevo happening. And then with the low cut and high cut filters, I'm just going to bring those all the way up. Now taking a listen, you can hear every time it hits that snare, it's going to that delay. And I can increase the feedback already taking listen back, I feel like I don't need these snares over here. I just want a lot more space before it kicks into the next snare. Now next up, let's add another effect in the signal chain for this, I want to go for a flanger. With this flanger, what I want to do is automate the speed dial. I'm going to take this and pull it down as there is the feedback going up with the delay. Now the next key thing is to assign these parameters to a controller so that I can manually automate them. So I've got more hands on control. I'm going to go back into this analog delay over here now. I've got my atom keyboard controller that I can use. And what I like is it's got these endless rotary dials that I can use. I'm going to take my feedback and I'm going to assign it to that control on my atom. So that when I move it, it's moving the dial over here. Then what I also want to do is take this high cut and assign it to a parameter as well. That's going to be **** two. I can take my high cut and cut that out. What I want to happen is when the feedback goes up and there's more repeats that are self oscillating. I'm going to take the high cut and cut out the high frequencies. Then finally going over onto this flanger. What I want to do is take the speed dial and map that to **** as well, so we've got control over the speed. Now that we've got that, let's record in some automation as we're playing back the audio. The key thing really is to turn the automation mode for the plug in to right or touch. I'll leave it to touch. And the same for the flanger when I play back. It's going to record any movements that I do on my controller. Let's do our first pass, and what I want to do is just change the feedback amount. And then on the second pass, I'll adjust the high cut. And the third pass I'll change the speed on the flanger. Let's see how this goes. Here we go. And then the last one. Now for the second pass, I'm going to automate the high cuts, so as it goes up and oscillates more or has more repeats, I'm going to cut out those high frequencies. I can click this button over here to show the extra automation lanes. What you can see there is there is the automation for the high cut and the automation for the feedback. Now next let's go to the flanger, and this is going to be the last type of automation that we're going to be using. What I found works really well is to take the speed and slowly drop it down as there's having more oscillations with those repeats on the delay. Here we go. There we go. Next is to take the automation modes, turn them to read, so that it doesn't override any changes. And the same with the delay. If I just unmet those drums now and listen to the whole thing within the context of the mix, I can actually increase that level of that snare. Very cool. And if I don't like it, I can always use my paint tool and go in and adjust those amounts. So let's say for this feedback, I'm going to draw in the feedback amount a lot higher. I'm just going to turn off snapping, and it's in free mode, and I can draw in over here that's going to self oscillate a lot more. Come back down again, up again, and finally, just make that a bit less. Now sometimes I find that that snare volume is a bit soft compared to the rest of the elements. Then I go in and add the mix tool and just increase that gain very, very, very fun. Like I mentioned, this dub delay technique does come from the reggae and dub styles, but you don't have to use it in those styles. What you notice is you're just taking portions of an audio and then making a signal chain where you've got some delay, where you automate the feedback and the cutoff. And then you can add some extra effects like flanger. I'm tweaking the speed over here, and then I'm just using this mix tool to increase the gain, so that, that effect is very prominent in the mix. That's how to do some Ub delays in studio one using the analog delay effect and how you can modulate that with some flanger and then try some automation on that. Okay, that is the double delay technique, it's really fun to use. As you can see, it incorporates delay and automation to really create some interest in your songs. 20. Multiband Delays: In this video, let's take a look at the groove delay. Now the groove delay is basically a multi band delay. There's four different taps, meaning there's four different delays. With each one, you can set different settings. Now it does look like there's quite a bit of parameters and it's quite complex. What I want to do is simplify this and go through it very slowly so you can see how it works and then we can see the complexity of the plug in. What I want to do is just take the level on all these other taps and turn them down. Also, what I want to do is get rid of the filters. I will talk about these a bit later. I click on here to turn off the filters on each delay tap, and then turn here to hide them. So I just want to focus in on what we've got here to get a good understanding of what this plug in does. Starting at the top here, you've got a view showing you 2 bars and you can set the interval value over here. Currently it sets eighth notes. So there's eight divisions before the first bar and another eight before the second bar. You can see that this line is slightly darker, meaning that's the bar. I can change the subdivision starting at half beat, so there's two beats per bar all the way through to 64th notes. As you can see, this is a very dense, if I want to get some very crazy delays, but let's stick with eight notes. Now, going onto each tap over here here you can set the position. This is the start of the playing of the audio. And then this is the first eighth note delay. If I go over here, I can switch it to the second eighth note, third, fourth, fifth, and so on. So I can choose where that first repeats of the delay is going to be. I'll set its position one over here. And then down here I can offset it. If I want the delay to be slightly later, I can push it here all the way over here. It's going to be a dotted delay. Likewise, I can push it the other way, having it anticipating that beat over there, and pushing it all the way to the other side. We've got a triolic beat, but I'm going to leave it set at the center so that it's a straight eighth note. Then what I can do is I can add some feedback, feed the delay right back into the signal here. I set the level, and then over here is the panning. Let's set this right in the middle. And I've got a guitar line over here that I'm going to play back with this eighth note delay on tap one. I've also got some global parameters here, so I can mix in the amount of the delay, then I can feed it back into itself globally to the point where it's going to self oscillate. There is some parameters that you might be familiar with. Now let's take it a step further. Let's introduce a second tap. What I want to do is just change the position so it's straight. I want this to be on the second eighth notes, and then I can increase this level. I've got two delays, but what you're hearing is that the one delays in the center and the other one is pan to the right. Let's pan the first eighth notes had left to the left and hard right to the right. I'm getting a very nice stereo effect introducing the third tap. I'll have this pan less wide. Let's add some feedback on each of these. Play this back, and then now let's increase the fourth tap, and that's going to be on the fourth position. Maybe just have the level going down and pan this about 30% to the right. You can do some really crazy stuff with this. Let's say I want to take tap 3.4 and push that after bar one. So I'm going to change the position, maybe all the way to about over here in the same with tap four. And I want to increase these levels. What I'm adjusting is the levels over here here that as it's coming round again, nets that bar, you're getting those repeats. These are here, there's nothing happening here. And then you can do some other interesting things that you can't really do with a standard delay. Let's just push these all the way back to where they were. And I want to take the levels, what you're used to with a delay, hearing that repeat and then the repeat decays. But what if the repeat actually increases? So I'm having my levels ascending with the delay taps over here. What if I want all those delays to have a dotted feel? Now I've got a dotted eighth note delay sious mix up. Again, an idea. There you've got four different taps that you can work with. Now let me reduce these levels. Pull them back to the straight feel. I only want to deal with one. Now I want to show you when we go to the filter controls done here on the filter, you can enable a filter with this x, Y view here. You can choose what type of filter you want to use. Here is a band pass. Here's a peak resonant filter. This is a high pass and then this is a low pass. Let's have a low pass filter. Things out with a cutoff. I can switch it over to the other side, very listen clearly out to those repeats. I'll feed them back and change the filter, I can introduce a resin peak. Maybe I should have the panning in the center. Now what I want to show you now is you can introduce an LFo modulation to the cut off form out. So I've got an LFO speed here set to quarter. I can also set it in hertz, but I'm going to have it sync to quarter. So getting that modulation that's happening with the cut off of resonance, changing the filter tops, which you'll note you get a like wow effect with this. Now I'm going to pan that again. Let's increase this one, add a filter, change the Alpho to the other way, Add three, add the filter and then at level four at the filter and the resin peak, it's increase this elephoemount, I'm changing it to a bar and it's changed four faster speed. Increase that max and the feedback, let's make tap three and tap four. So as you can see, you can go quite crazy with this groove delay and get control over that delay that you can't really get to with the other stock delays in studio one. Now another thing I haven't really pointed on is you've got this view here where it shows the levels, you've seen these levels moving over here. I can also switch to pan and change my panning over here. As I change them, you see it changes respectively. Over here, there's the cutoff amounts. As I'm changing those, it's changing the cutoffs. Then with the LFO, this is the LFO amounts. The only thing that's slightly different is, let me just put these straight over here for tap 3.4. Is with swing. It links tap one and tap three, and tap two and tap four. If I take tap one and changes the swing amount for tap one and tap two, if you want to introduce some swing, that's quite a nice way to go in this view over here. And it's going to link tap one and tap three. Now just to finish off, let me jump through some of these presets and let me show you the crazy results that you can get with groove delay. Let's go for a slingshot. Taking a look here, you've got different taps at different positions all over the place. Position one, position two, position four dotted, position two dotted. And as you can see, you've got some quite interesting filters that are set up. You're getting a very resonated sound as you can see, because the resonance is pushed up quite high here. Give us something else like oriental rhythm. As you can hear, you can create unique rhythms using this multi tapped lay effect. Finally, let's go for swinging eighth filtered, pull back on this mix to hear dry, then introduce the sin, and then increase that feedback change of speed. What I just wanted to show you is by breaking it down to the most simplest form where you've got four different delays and you've got parameters that you used to, such as feedback level pan and sort of a position of your delay. Then you get some crazy things like filters and as to really take those delays to another dimension. 21. Rhythms with Delays: I really like how you can use delays to create rhythm. For example, in this song, I've got a very simple arrangement here. It's just a kick, snare, and hat with a synth part. Take a, listen, I've just got the stabbed synths over here with this drum beat, which has got a 16, 8% swing feel. But as you can hear, very simple. Now let's go onto my tire and I want to add an instance of the groove delay. And I'm just going to leave it set at its default patch here and I want to play back and tweak some of these settings. Please change the position, make a dotted feel one of the taps triolic, maybe push these things out to different positions. See how you're creating a rhythm with just a simple stab y, for example, if I take the mix down, just go back now, add in some of the stellate to create a rhythm. Let's do the same on the snare. I'm going to add an instance of the groove delay there, make everything a dotted feel change. Some of these filters bring this mixed amount down. I'm going to be switched to a fast interval value. Maybe try for the 32nd notes and create some different rhythms. Increase that feedback. I actually liked it really getting some crazy results. We take a listen before adding any of these, but it's really pretty simple then adding in these delays, getting that feedback of those delays, and really just getting crazy results. I see as I switch between us today, you're getting at those crazy things happening with the changes of the delay times. But basically what I just want to show you here is that you can really get some crazy results by using delays in your set ups. Try these techniques out in some of your songs, Add some delays and change some of the intervals and repeat values and see if it can switch out that rhythm. All like you saw here, I've used the groove delay and changed some of the positions with these tap lines and you really get some interesting results. 22. PitchBends and Delays: An interesting technique that I want to show you is how you can bend into a note. So you use some pitch bend with the notes, and when you add a delay to that, it creates a really interesting effect. For example, I'm using the analog delay over here and I've got a quarter note time with about a 37% feedback. With the low cuts, I've set them here and the high cut chair with a bit of drive, I've got some slight width that's happening with a ping pong delay. And then the dry, wet mix is set at about 37.5% So what I want to show you, so this is a normal notes played on a guitar with the delay. And you hear those repeats. Now I'm going to bend into that note, so I'm going to start at a note that's lower end pitch and then bend up to that. What you get is those repeats, you get that sort of sweeping down pitch effect. And sweeping up effect. Now I want to play back a drum loop with a bass part, and I'm not going to do the pitch bending. And then after that I'm going to do the pitch bending. Take a listen over here. I'm just going to start before and we're going to go, I'm going to bend into its send. That could top there again and now without the binds. And now with the binds to try that out, new productions use a delay effect. For example, here I used a note delay in our player notes, in our pitch up to another notes. And with those delays and repeats, you've got the sort of whaling effect that happens with the delay on those pitch notes. 23. Reverse Delays: In this video, I want to show you a fun technique where you use reverse delays. When I mean reverse delays, I mean using a delay on an audio file and then reversing that audio file, applying the delay and then reversing it back, it creates an interesting build up effect into another piece of podio. How I find this works really well is with some vocal parts. So I've got this song over here with this main vocal, let me play it back for you. Up, up Roll. I just want to take this first section over here, this down. I want to copy this to a new track. Basically what you want to do is choose a very short piece that you want to use for your reverse audio, and then we're going to apply the processing to it. So I'm going to create a new track with this new track. I'm going to copy this new audio part to it. Then I want to reverse this part so I can right click on it, go to audio, and then choose reverse audio, or use the shortcut command or control R that reverses this. Now sounds like this. Really nothing. Now, I want to use this as a starting point. Now what I want to do is apply my delay. I'm going to add the analog delay. I want to set it to an eighth note. And let's just check some of the settings because we're going to fine tune them before we bounce down to a new track. Including that delay. Maybe I want the feedback a bit more now. It is obviously going to sound a bit gibrachi because we're using in reverse audio. But hopefully you get an idea of how that tail is going to sound. Just tweaking these filters add a bit of drive. Okay, I'm happy with that. Now what I'd like to do is draw in or paint in a new part. Just paint swimming in over here. Because I want to group these two parts together and then when I bounce it down, it's going to include that length of the part. I'm just going to extend this out to about here. Then I'm going to select both events, go to Events, and then say Merge Events. Now I've got this long extended event. Now I'm going to take this and bounce down to a new track. So I'm going to right click on it, go to Events, and then choose Bounce to new track. It'll met this track for me. I don't need that anymore, so I'm unsolo it now. I've got this part where the delay has been printed to the audio track, like over here. I've got the reversed audio part with the analog delay, where on this track I've got no plug in, so that printed delay is on the audio. As you can see, it tails off quite a bit. Now I'm going to reverse this again. I'll use a shortcut command R or control that reverses it Again, what I want to do is align up this part with the beginning of the vocal here. Because if you take a listen to it. So I've got that down there, which is the same as this part over here. I want to line these up, so I'm just going to find where they have the same transient hits over there. Play them together. Yeah, that sounds good, but now what I want to show you is the effect of this reversed vocal with that printed reverb on. I'm going to drag this out now. Quite far. Now I want to play this back so you can hear the result I'm going to play back. Can hear now how that delay is crescendo into that beginning of that audio piece. Now this is sounding a bit too dry because I didn't print all the effects. So what I want to do is add some reverb onto it. Also use a bit of an analog delay send. I just want to copy across the same vocals here, so I'm just going to drag this next to it. I'm going to call this Rev vocal. And then I want to go across to my mix console and just copy across those same effects. So I had the EQ and the compressor. Now I just want to balance the two together. Now what I find normally works is just to cut right before this part that matches that. And just pull it down slightly so that it sort of matches with the wave from here. Very nice. Now I can just fade that in and fade this out. So what we've got now is a reversed delay effect in our song going into the main vocal tell. Very nice. Maybe just pushing up that reverb send and the other delay send which is also an eighth note delay. Very cool. This is a real fun effect to use specifically with transitions like this where I'm going from one section in my arrangement to another, definite try it out in your songs, just remember what you need to do is select a part of the audio that you want to use. Copy this to a new audio track. Then apply the delay effect I drew in a new part and merge them together. And then you bounce this down to a new track and then reverse it back. And then line up the audio pieces. That's how to use reverse delay parts in a song. Try it out in your side as well. 24. Conclusion: Thanks so much for watching all the way to the end. I hope by now you have a much better understanding of what delay is and how you can use it within your studio one songs and productions.