amiller


So, what's the technique to introduce a prescribed amout of delay in a track?

Can ya define "prescribed" for me? Not quite following you on that part.
 
Delay stuff....I so gotta go eat, so in brief...
 
HAAS effect works incredibly well and is my first choice for stuff like this. for example, take a mono track. Grab a Sonitus delay, set the left side to 1 ms, no feedback, no crossfeed, turn the output to 100 all the way up.
 
On the right side, set the right side to 20 ms, feedback at 0, crossfeed at o...output, 100.
 
Then, mess with the right side delay by increasing it to make it sound more loose, decreasing to sound tighter. Or, calculate your bpm so you can use a delay time that compliments your song. Err...wait, Sonitus has a built in bpm..lol...sorry, so just put in the bpm time in the right side...or just use something that compliments the instrument you're running it on. 
 
Another cool thing...mic proximity. Mic a cab at close range (or a singer) and put another mic x amount of feet away. The sound will delay which is cool and when you eq it and mix it in with your close mic sound, it's pretty awesome.
 
Pre delay in reverbs is pretty awesome too for creating some dimension and ambience. But anyway, those are a few things to get you started in the event I understood your question. If I didn't, my apologies.
 
-Danny

Danny Danzi

amiller


So, what's the technique to introduce a prescribed amout of delay in a track?

Can ya define "prescribed" for me? Not quite following you on that part.
 
Delay stuff....I so gotta go eat, so in brief...
 
HAAS effect works incredibly well and is my first choice for stuff like this. for example, take a mono track. Grab a Sonitus delay, set the left side to 1 ms, no feedback, no crossfeed, turn the output to 100 all the way up.
 
On the right side, set the right side to 20 ms, feedback at 0, crossfeed at o...output, 100.
 
Then, mess with the right side delay by increasing it to make it sound more loose, decreasing to sound tighter. Or, calculate your bpm so you can use a delay time that compliments your song. Err...wait, Sonitus has a built in bpm..lol...sorry, so just put in the bpm time in the right side...or just use something that compliments the instrument you're running it on. 
 
Another cool thing...mic proximity. Mic a cab at close range (or a singer) and put another mic x amount of feet away. The sound will delay which is cool and when you eq it and mix it in with your close mic sound, it's pretty awesome.
 
Pre delay in reverbs is pretty awesome too for creating some dimension and ambience. But anyway, those are a few things to get you started in the event I understood your question. If I didn't, my apologies.
 
-Danny

By "prescribed amount" I meant what ever amout I decide on.  The real nature of my question was answered by the rest of your response...thanks!

Danny-
yeah, i don't think i'll change my pan laws now (i have it default to equal gain when panning, i can't remember if it's 3db, 6db, or what....)

why should i force the DAW to do unnecessary math?

all i have to do, is put the fader where i want it......




amiller-
ok, so now MY reply's not good enough for you!!

LOL

just kiddin

batsbrew



amiller-
ok, so now MY reply's not good enough for you!!

LOL

just kiddin

Sorry man, your stuff just doesn't cut it.
 
 
 
 
 
 
 
 
Just kid'n...I'll try anything looking for something that works.

amiller

batsbrew



amiller-
ok, so now MY reply's not good enough for you!!

LOL

just kiddin

Sorry man, your stuff just doesn't cut it. 
  
  
  
  
  
  
  
  

LOL I just spit water all over! I don't know anyone who'd say that to bats....including my dumb @ss. Hahahahaha! That was great man. Glad you were kidding though. :)
 
Ah cool, so I was sort of on the mark with your question though...right on. I was glad you didn't take my question about the prescribed amount as being sarcastic. I really was lost on that. Such a simple word, yet I couldn't grasp it in this context. LOL! There's other stuff you can do too...but those things are the easy ones that come to mind. Especially the HAAS thing.
 
The cool thing about doing it with a delay, most guys were used to recording a take, cloning it, and then sliding the second cloned clip a few ms to the right. Pan the first clip hard left, the second hard right...and you got this image thing that sounded cool. With the delay, we can do it withouth destructively editing the clip with a slide. Not that it matters since the clip is a clone of the original, but to me, the delay is so much easier and is on the fly without sliding anything, ya know?
 
Another cool trick to do along with this....say you set up the mono track like I mentioned using the HAAS delay, this sort of auto-hard pans the track left/right. If you find it to be a little too wide, put a Sonitus phase plug after the delay and just adjust the "width control" and it will control the spread. Try that out sometime. :)

Very cool stuff...thanks for tips EVERYONE.

Pan laws are irrelevant in an all-LCR world. They exist only so that you can change (or automate) a track's pan position without affecting its volume. If everything's always L, R or C then you just set your levels and that's it.

LCR would make more sense if everybody listened to music via loudspeakers, but nowadays earbuds and headphones are the norm. It's therefore more critical to maintain a panoramic balance because the listener is more sensitive to pan positions. Tricks such as panning BGVs at 5% or 10% to clarify the lead vocal are very effective when listening on headphones.

I like to try to exploit the benefits of both models, and usually have most tracks panned at L100%, L50%, center, R50% or R100%. Sort of LRC for those of us with commitment issues.

Commitment issues....
Now THAT was funny, as well as relate-able...

Bit - you make a really good point though, one I had not really considered.
Listeners today do use earbuds a lot.
Makes me wonder how much that effects putting a mix together, or does it?

bit-

good point.

WELL, there is the argument to be made,
 that most people listen to tunes with ear buds these days.... 
 maybe not most, but a lot.. 
 and when listening in cans, it's a lot easier to pick out the movement of minor panning tweaks....

 i know i can hear the difference between center and 3-5% to the left or right. but that's a very clinical way of listening, 
and i think the TROUBLE (that's TROUBLE with a capital "T") one goes to..... 

to find those inbetween spots, just for the sake of putting something in the sonic 'hole'..... 

 is not worth the trouble. with a capital "T".

Good discussion hear here.  I normally use panning positions like Bit's general panning specs he mentioned above.

However, 

recently, I have been use stereo widener effects on certain instruments that really throws a whole different perspective on this.  As you all may know, sending a group of stereo instruments to a bus that then uses a stereo widening effect can add a new dimension to the song if that is what you want.  The panning in this instance is hard to pinpoint!

Rimshot