Great technique.. been usingit for years.. the key is always use PRIME number delays.. example up to about 35ms, as was described. for example with 35ms being your upper limit.. use only primes below that.. 37, 31, 29, 23, 19, 17, 13, 11, 7... there will be little no aliasing (high frequency aliasing as a lower frequency.. Using primes, it sounds much cleaner.. try it.
Good technique. Creating phase issues are the point of this effect. The timing offset is a comb filter… an EQ. Choose the delay time in the context of the mix and maybe broadly EQ the combined result.
The thing is, the original track that is not delayed always seems to sound slightly louder to my ears. Probably because the delayed track is out-of-phase slightly with the original (no delay) track.
Hey I was wondering if you have tried this in combination with doubling guitars, I know it is basically the same thing seeing as the whole point of doubling is to thicken up the sound through slight differences, but I’m wondering if this delay trick can be used with doubling to create an extra thicckkk sound if you know what I’m saying. I just don’t know how the panning would work out if I were to hav both a double and a delay working at the same time
Could you also just do an FX send from the guitar track and pan the FX channel and the Guitar channel? Assuming the FX channel has a delay effect applied.
EQ alters phase response, so you could potentially reduce the cancelation. I would do opposite EQ for each channel, so if I cut 2dB at 800Hz on one channel, I'll boost it by the same amount on the other channel.
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Great technique.. been usingit for years.. the key is always use PRIME number delays.. example up to about 35ms, as was described. for example with 35ms being your upper limit.. use only primes below that.. 37, 31, 29, 23, 19, 17, 13, 11, 7... there will be little no aliasing (high frequency aliasing as a lower frequency.. Using primes, it sounds much cleaner.. try it.
Very interesting, Thanks.
Good technique. Creating phase issues are the point of this effect. The timing offset is a comb filter… an EQ. Choose the delay time in the context of the mix and maybe broadly EQ the combined result.
cool trick but what you want is a cooper time cube emu on that solo. the garden hose!
The thing is, the original track that is not delayed always seems to sound slightly louder to my ears. Probably because the delayed track is out-of-phase slightly with the original (no delay) track.
I see studio one , i subscribe..
Hey I was wondering if you have tried this in combination with doubling guitars, I know it is basically the same thing seeing as the whole point of doubling is to thicken up the sound through slight differences, but I’m wondering if this delay trick can be used with doubling to create an extra thicckkk sound if you know what I’m saying. I just don’t know how the panning would work out if I were to hav both a double and a delay working at the same time
Could you also just do an FX send from the guitar track and pan the FX channel and the Guitar channel? Assuming the FX channel has a delay effect applied.
Definitely.
Can you go into more detail on how you would eq the 2 channels to negate any phase issues? What's the mindset there and what you're trying to achieve?
EQ alters phase response, so you could potentially reduce the cancelation. I would do opposite EQ for each channel, so if I cut 2dB at 800Hz on one channel, I'll boost it by the same amount on the other channel.
@@GreenLightSound Thanks.