Delays keep our production from sounding boring. Delays create an echoing effect according to a set delay time and feedback control. The delay time determines the space between the repetitions of our signal in the echo and the feedback controls how long these repetitions last. In this article, we will look at a few tips with delays to create detail and liveliness in your track.
1. Sidechaining the Delay
Delays like reverbs can easily create overlap among two melodic phrases in a performance. If this overlap is not intentional then it might create dissonance or ruin the clarity of the phrase. A simple compressor side-chained to our main lead inserted after the delay can resolve this problem. In this case, the delay will duck under the main lead when notes are being played and the delay level will swell up when there is a silence in the playing. We can sculpt the swell of our delay using the release of the compressor.
In the image above, we are using the sidechain compressor to make the main bell melody clearer and then adding a slow-release so the delay has almost a fade-in effect.
2. Compressing the Delay
There might be a situation where we are trying to use a delay to add some subtle detail to our sound. These details can get easily lost in a busy mix. Using a compressor on our delay helps us to add more presence to the delay tail by lowering the threshold and adjusting the ratio as required. Always remember to use your ears and not overdo the fine-tuning. Another situation that comes to mind is when we have a delay with high feedback but the decay ends a few beats before the next section begins. You can use a compressor here to slightly increase the amplitude of your delay tail so that we can hear it sustain to the next section in the mix.
In the image above we are compressing the delay tail of some glitchy blips and bloops to make it more present in the mix, especially in the busier sections.
3. Filtering the Delay
This tip will hold for most delays and reverbs. When we feed the full harmonic spectrum of our sound into the delay input, a lot of problematic frequencies that were previously quite in the mix might get boosted. If we are applying a delay on our drum loop to create an interesting groove, then you should use a highpass filter pre-delay so that all the lows are prevented from going into our delay. This will keep our track clean and not throw off the groove because of the kick being affected by the delay. Similarly, we might want to tone sculpt our delay tail so that it stands out from the original sound in the mix. In that case, an EQ inserted post delay can help us achieve our goal. You can also use the internal pre/post EQ in your delay plugin, provided it has that feature.
In the image above we are sending a drum loop to delay inserted in a return track. As you can see we are using a highpass filter pre-delay to remove all the low and mid information being affected by the delay. Then we are also using a modulated bandpass filter provided in our delay to further shape our sound. This setup is being used to create subtle ghost notes to enhance the groove of our drum loop.
4. Using Multiple Delays
Delays can be timed according to a note duration or a frequency. Most mixes employ a few delays with different delay timings. This is done because a 1/4 note delay might sound good on our synths but it might create some unclear sounding overlaps on our vocals because of the way the phrases have been composed. Perhaps a 1/8 note delay would sound much better on the vocal. In this situation, we will require two separate delays, one with a 1/4 note setting and the other with 1/8 settings. Another perspective can be using two delay timings on the same sound to create interesting patterns. We can have one delay timed at 1/4 note while the other at 1/6 which is a triplet note duration to create an interesting polyrhythmic groove (shown in the image below).
5. Creating Stereo Width with Delays
Delays can be used to create a stereo effect. If we are using multiple delays, we can pan these delays in various ways to add width to our sound. The simpler technique is to use a traditional delay plugin and have the left delay and the right delay set to trigger at different note durations. Another variation of this technique is to use the same delay timing in both left and right but offset them from each other by different values (both variations are represented in the image below).
Another technique for creating a stereo width effect with our delays is to use two similar-sounding delays and pan them left and right. You can achieve this by using two return tracks, hard-panned left, and right or an audio effect rack with a delay in each chain. Then we can pan one chain hard left and the other hard right.
One more simple technique for creating stereo width with our delay is simply using a ping pong delay. In a ping pong delay, the first repetition will occur in the left channel and the next repetition on the right.
6. Adding Delay Throws
Delays are often used to fill up empty spaces in a mix. One common technique for filling up space is a delay throw. We do this effect by inserting a delay in a return track and then automating the level of our delay send to emphasize the last note or word in performance perhaps in a pre-chorus leading up to the chorus. This will create a smooth delay swell and the word on which we raised the send level will ring out in the mix, reinforcing the meaning and filling up some empty space at the same time. You can use automation curves to really sculpt the volume envelope of your throw.
7. Using a Reverb on the Delay
Sometimes the repeats created by our delay can sound dry or lack a sense of space. Using a reverb in conjunction with our delay can be very useful here. The reverb adds ambiance to our delay repetitions and puts them in the same spatial environment as our original sound provided we are using the same reverb for both. You can directly insert a reverb plugin after your delay or you can also send the signal from the delay return to a reverb return by enabling the delay return to send control (you will have to enable it first by right-clicking in Ableton).
Reverbs are an important part of mixing. We often hear people refer to a signal as dry or wet, referring to the type of reverb. Shorter reverbs can sound dry as they are perceived, rather than heard. Longer reverbs are audible in the mix and they are often referred to as a wet sounding. In this article, we will look at a few techniques of using reverb as an effective mixing tool.
1. Using Your Reverb Post-EQ
Producers use reverbs both as inserts and returns. EQing our signal before it comes to our reverb has a lot of benefits. We can use a low cut or low shelf to reduce the amount of reverb applied on the lower frequencies to prevent unwanted muddiness in the low mids. Similarly, a high cut or high shelf to reduce the reverb on some sibilant frequencies so that they are not amplified in the mix. Always use your ears and check how your signal sounds with and without the EQ. Another important point to consider is that nothing is stopping you from EQ the signal after the reverb as well. Although we are using an EQ to sculpt our signal into the reverb effect, it does not mean that other problems will not be introduced in the areas reverb is being applied. You can use a separate EQ for this role or you can also use your Reverb's own EQ, provided it has that feature, to sculpt your input signal for the reverb.
In the image above we are using the Reverb on a return track. We are sending a drum loop to our return and creating a room sound for it. We are using an EQ before our reverb in the return to control the amount of reverb applied on the kick and frequencies above 7000Hz.
2. Compressing the Reverb Tail
When using longer decay times on a reverb plugin to create lush soundscapes, we run the risk of drowning important musical phrases in a performance. It can create a lack of clarity when used on quick vocals or melodic runs. Compressing the reverb tail gives us greater control over the decay so that it ducks whenever our lead sound is playing. In our example, we will use the sidechain function on our compressor to duck the reverb tail according to our sidechain input.
As you can see in the image above we have selected the Vocal Chop track for our sidechain input so that our reverb ducks down every time the vocals cross the threshold we have set. We are also using the release time of the compressor to shape the recovery of the reverb signal after our vocal chop has ended temporarily.
3. Avoiding too many Different Reverbs
Reverbs essentially refers to the space in which your mix exists. If you want an intimate feel in your sound, then you should stick to shorter room reverb. If we suddenly add another sound with a lush hall reverb, then it might mess up our mix's focus in a lot of cases. It is important to think of reverb as an effect that adds context to the mix. It makes the listener feel like they have been transported to a certain environment meant, the music is being performed. This should not sway you away from using multiple reverbs if your intention is to create a certain vibe or effect. A lot of producers use two reverbs for their mixing session, a shorter one to add body and depth, and a longer one to add some wetness to an otherwise dry sound. Always visualize the space the listener would feel they are in. If we are applying Reverb to a snare drum then we have to think would it should be like it's being played in a church or perhaps a warehouse or any other space. This pattern of thinking will help us make better decisions during our mix.
4. Creating Stereo Width with Reverb
We can use reverbs to enhance the stereo field of a mix. A common technique is to keep the main sound in the center while the reverb is panned back and forth by automation. This can be used to create some stereo detail in our mix to make sounds stand out from the rest. Another way reverb panning can be helpful is in those situations where there is panned sound but our reverb is centered, thus not giving a sense of space to our main sound. We can pan our reverb in this case to the position of our main sound so that we can reinforce the panning. We can also create our own wide stereo Reverb by sending a signal into two return tracks with similar-sounding reverbs and panning one hard right and hard left. The main sound will remain in the center creating a pleasant ambiance.
5. Automating Reverb Parameters
Most often producers dial in their desired reverb setting and leave them static throughout the mix. This can lead to a boring mix. To elevate our mixes it is important to obsess over the details. A common pitfall of using longer delays is sometimes one phrase will have its reverb tail overlapping on the next phase in the performance resulting in dissonance. This can also happen when we are transition from one section of a song to another, while the reverb tail from the preceding section continues to sustain. An easy fix is to automate our dry and wet settings so we can create clearer transitions between musical phrases and song sections. You can also automate your reverb to create swells and impacts in your mix. Always use your ears to see where the reverb tail is creating problems and address them immediately.
6. Less is More
Overuse of reverbs can notoriously lead to muddy mixes. The presets or samples we use often have reverb built into the sound from the plugin itself. It is useful to think about whether we require that reverb if we are going to create our own spatial location with our own reverb settings anyways. There is no creativity in drowning the details of performance with the overuse of reverb. On a lot of occasions, it is more beneficial to be conservative with our reverb to avoid any undesirable fogginess. If we let a set reverb tail color every section of our mix, then chances are it will not sound as good in certain sections as it does in other sections.
7. Having our Reverb Decay Time Synced With the Project BPM
It is important to remember that reverb is a function of space. So the size of your space or environment determines the decay time of your reverb. The decay time of a small room reverb will be considerably shorter than that of a chamber reverb. To make our mixes sound tighter, we like to have our reverb decay time match the BPM of the song. This lets us dial in the exact number of note duration we want our reverb tail to sustain. You can use a Reverb and Delay Time Calculator on the internet to calculate what decay time setting will be ideal for your project tempo. You will simply have to enter your project BPM and let the calculator do the work. There is also a small hack for calculating the time manually. If we divide the value 60,000 by our project BPM, then it will give us the decay time for 1/4 note duration in that BPM. So now we can manipulate this number depending on what kind of ambiance we want. If we want the decay to sustain a full bar then multiply your result by four. If we take 100 BPM as an example, then 600ms (60000/100) will be the decay time for a 1/4 note in 100 BPM. Now if we want our tail to last a full bar in 100BPM, then our timing will be 2.4 seconds (600 x 4 = 2400ms = 2.4s). Now we have a clear idea as to how long our reverb will sustain in the mix.
Basslines can be tricky for beginners to program. The bass plays a significant role in our mix because it provides energy and thickness to the track. Any track would sound thin and weak if bass frequencies are lowered beyond a point in a mix. In this article, we will explore a few techniques that can help us to come up with catchy basslines for our songs.
Equalizers are among the most commonly used plugins in mixing and mastering tasks. Equalizers can be used for tone shaping, controlling problem areas in the frequency spectrum and enhancing certain frequencies to add presence. Equalizers have different filters that can attenuate or boost different parts of the frequency spectrum. In this article, we are going to take a look at the different types of Equalizers used in music production.
All DAWs, no matter how basic, implement some form of automation. Automation means having a computer take control of a parameter within a DAW and change it's value over a period of time set by the user. Automation can refer to the turning of a knob, the sliding of a fader and the toggling of switches within our audio workstation. To carry out any form of Automation the user draws automation curves in the DAW timeline (commonly in an automation lane) which defines the movement of the selected parameter for a certain duration defined by the user. In this article we will explore some creative automation tricks and tips that will improve your mixes.
1. Creating Variations For Programmed Instruments
There are countless advantages of using MIDI, but one of the areas where this technology fails to deliver is in the realm of humanization. A programmed instrument most likely would have all notes playing in the same velocity, with the same articulation. A real instrument played by a person would naturally have a lot of variations in dynamics and articulations. The same can be done for MIDI instruments but the process often takes a lot of time and patience. Automations can be a great tool to create these variations quickly and efficiently. Automating the volume of a hi hat for example can help make it sound more natural, letting some hits be louder than others, similar to accents performed by a drummer. The pitch can also be automated to simulate articulations like vibrato and pitch bends. The pitch can also be automated in cents for instruments like drums to simulate the drum stick striking different regions of the drum skin. These techniques can add a lot of expression and dynamics to robotic MIDI sections.
Lo-Fi is a type of music where imperfections are introduced into the audio signal deliberately to achieve texture or character. Lo-Fi is an abbreviation for Low Fidelity, so music producers often employ plugins that artificially degrade the audio to give their sound a vinyl quality. In this article we will explore 6 easy steps to compose a lo-fi hip hop beat.
Step 1: Creating the right Chord Progression
Lofi chords are a huge part of their sonic quality. Most loft producers sample old jazz and soul records to create a nostalgic feeling. We will be creating our own progression from scratch and then we will sample ourselves. Lofi hiphop can be anywhere from from 70-100 BPM, sometimes even slower than that. The BPM for our project will be 75 BPM. For sound selection, try to remember what type of instruments old jazz and soul records would use. Using those sounds to create our sample will help us create a more old timey vibe.
Look at the chords that we have drawn in the image above. We are using a rhoads preset to create these chords. You can use an acoustic guitar or any other instrument but the way you create your chords will change according to that instrument. Here we are using the chords Em7 - Am7 - CM7 - GM7 for the first four bars, in the second four bar cycle, we are substituting Em7 with Emadd9. You can experiment with the added notes on these chords, also use vinyl or modulation fx on the channel to make things sound more aged.
We are using the phaser-flanger device of ableton, as shown in the picture above, to modulate our Rhoads sound.
Step 2: Turning Your Chord Progression Into a Sample
