Read these below tips on using your best delay pedal.
From a mere cosmetic effect, which can beautify our doorbell providing spatiality, to radically innovative uses in search of air or directly Martian sounds, through pragmatism to fatten our sound, the delay is capable of many things, and each must decide whether some of its applications is suitable for your needs or not. One thing we warn you: these small (well, sometimes huge, what fool) apparatus basically get a copy of our signal to delay in time (from a few milliseconds to a few hundred) and add it to the original sometimes adding different repetitions and even degrade progressively as they decay in search of an analog heat to remember those tapes; these devices, I say, are complete and unavoidably addictive. The proof is that almost no “Pedalboard of the stars” escapes incorporating one, if not several, delays in the sound chain.
Do you not know where to start? We leave a few traditional uses to begin to experiment and discover why.
Okay, let’s start as we like to do around here, the cart before the horse. But that, surely, one of the most associated sounds that we all use the delay is the one that displays song itself, the song also, The Edge of U2. Think of Pride (In The Name of Love), or Where The Streets Have No Name. That sound that has appropriated the guitarist, and actually could trace their origins to the Run Like Hell Pink Floyd. It is only based on the delay repeats happen to the tempo of the song.
As we said, a delay can generate a single repetition suspended in time or more. This is done by taking back the processed copy and re-insert it into the input of the effect, and the number of repetitions delay pedals that allow this (all?) Is regulated by controlling commonly called feedback or regeneration. When we want these repeats are very prominent on the subject, we will raise the level of effect (by controlling mix, dry / wet, level or is named in the pedal shift), of course. But if they do not go to the song tempo, wit not sound particularly well. Therefore, his is cuadrillas to that pace, and generate the sonic cascade house band U2.
How to do it? Ideally, your delay pedal including a tap tempo function, to add on the fly that information on the subject bpm. But if you do not, there is an easy way to calculate the milliseconds that should be set delay control of, ahem, the delay. Only you must divide 60,000 (milliseconds in a minute) by the bpm of the subject, and obtain the time between each quarter note or quarter note. For example, for a 100 pm, we get 600 ms. If we want the repetitions to occur following a pattern of eighth notes (8th notes) or sixteenth notes (16th notes), you just have to go by dividing those milliseconds between two on. Sixteenths would obtain for 150 ms, for example, and fuses (32nd notes), 75 ms.
It is a simple calculation, but if you do not have the head for math, and either a tempo tap your foot, there are applications for very Amano SAS smartphones that will calculate quickly for you for any bpm, and thus can achieve that atmospheric sound that likes pop.
Fatten your sound with slapback
You’ve heard many times this term, slapback, but what is? Easy: A delay of a single repetition with an average delay. This is easily accomplished with any pedal by placing the feedback to a minimum (which give a single repetition), the delay time between 80 and 200 ms (to taste), and the level of not excessively high effect (between 20 or 50% of processed signal). Thus we obtain a copy of our signal that can intuit but not listen completely independently. The result? Our sound is perceived automatically thicker, bigger. Fat. Depending on the level to which we use the effect will be more or less prominent. The more it is, the more rockabilly sound come near you 50. And if you reduce the delay time (up to 20-50 ms) you can achieve similar effects the chorus, but without modulation, of course.
Fatten your sound: guitar hero instantly
What if we take the starting point of the slapback and lengthen the delay time and increase the repetitions? You’ll find yourself quickly with a familiar sound. You instantly soar to 80, and those solos so damn groovy hair metal. Yes, my friend, this is the way to becoming primarily a guitar hero (sonically, touching thing is already yours) in a matter of a stamp.
To achieve this, as we say, it uses a long delay time, from 200-300 ms, regulates the feedback for 3 or 4 repetitions, and do not overdo it with the effect level. You will enter fully into the reverb like you ask a fan shouted game to shake your mane sound as the delay becomes your only something bigger than life. For more drama, you can even use two delays, one short and one longer. Yeah, baby!
Delays in stereo
If you’re adventurous riding your computer to stereo sound on stage, you can dive deeper into the world of delays planned. The thing is that on each side of your radio a processed signal appears differently. That is, with different delay times. This could be achieved using a different delay on each of the roads leading your signal to each amp or using a delay unit specifically designed to operate in stereo configurations. With various times in L and R, your sound will gain in nuance and atmosphere. Or even, you can dare with the so-called “ping-pong” delay, which is alternating repetitions between each end of the stereo.