Become a member
Become a member

or
Continue with Google
Log in
Log in

or
Log in using a Google account
learning
Comment

Slapback and Doubling with Delay

A guide to mixing music - Part 87
Share this article

This time around, we'll look at two "classic" uses of the delay effect.

View other articles in this series...

Slapback

This is without a doubt one of the oldest tricks in the delay book. And it couldn’t be easier to apply. You only need to set a delay time somewhere between 70ms and 110ms and with no feedback. This results in a single repetition that is clearly distinguishable and could be interpreted as an echo very close to the source signal. But be careful, in order not to interfere too much with the instrument you are applying it to, you will inevitably need to EQ the delayed sound to trim some of the highs and lows.

The Slapback effect has been very popular since the '60s although it seems to be less and less used nowadays. But it can nevertheless be used on certain modern productions to give them a nice “oldies” touch. While it is mainly used on vocals and guitar, you shouldn’t shy from experimenting with percussion instruments, such as the snare or the hi-hats, which might result in interesting “accidents.”

Doubling

Another typical use of the delay is doubling, which as the name implies means using it to simulate more or less realistically the layering of two different takes of the same instrument. Once again the feedback parameter must be set to zero, but the delay time ought to be shorter, somewhere between 20ms and 70ms. Be careful not to set it too short or you risk having important comb filtering issues, which will only complicate your mix. And again, you will have to EQ the delayed signal.

EP34

And the basic settings I suggested above aren’t enough to create something realistic. There are different options to tackle the issue.

You can start by giving more sweep to the doubling while at the same time keeping the original signal intelligible by using a stereo delay that offers the possibility to set slightly different delay times for the left and right channels.

Then you can try to slightly detune the two delay lines, with different values obviously.
Finally, the cherry on the cake would be to modify just slightly the delay time of each of the lines in order to get a constant pitch fluctuation. Lennon anyone?

A couple of remarks before closing this article. First, whenever you use any of the above techniques, always check the mono compatibility of the mix, because you might end up with ugly surprises. Second, these effects have been historically achieved using tape delays. So, if you have one such plug-in among your arsenal, it might be wise to use it here. The outcome will be more realistic in an “audio culture” sense, if you know what I mean.

Next time we’ll look at more specific uses of delay during mixdown.

← Previous article in this series:
The Use of Delay
Next article in this series:
Using Delay Instead of Reverb →

Would you like to comment this article?

Log in
Become a member
cookies
We are using cookies!

Yes, Audiofanzine is using cookies. Since the last thing that we want is disturbing your diet with too much fat or too much sugar, you'll be glad to learn that we made them ourselves with fresh, organic and fair ingredients, and with a perfect nutritional balance. What this means is that the data we store in them is used to enhance your use of our website as well as improve your user experience on our pages and show you personalised ads (learn more). To configure your cookie preferences, click here.

We did not wait for a law to make us respect our members and visitors' privacy. The cookies that we use are only meant to improve your experience on our website.

Our cookies
Cookies not subject to consent
These are cookies that guarantee the proper functioning of Audiofanzine and allow its optimization. The website cannot function properly without these cookies. Example: cookies that help you stay logged in from page to page or that help customizing your usage of the website (dark mode or filters).
Google Analytics
We are using Google Analytics in order to better understand the use that our visitors make of our website in an attempt to improve it.
Advertising
This information allows us to show you personalized advertisements thanks to which Audiofanzine is financed. By unchecking this box you will still have advertisements but they may be less interesting :) We are using Google Ad Manager to display part of our ads, or tools integrated to our own CMS for the rest. We are likely to display advertisements from our own platform, from Google Advertising Products or from Adform.

We did not wait for a law to make us respect our members and visitors' privacy. The cookies that we use are only meant to improve your experience on our website.

Our cookies
Cookies not subject to consent

These are cookies that guarantee the proper functioning of Audiofanzine. The website cannot function properly without these cookies. Examples: cookies that help you stay logged in from page to page or that help customizing your usage of the website (dark mode or filters).

Google Analytics

We are using Google Analytics in order to better understand the use that our visitors make of our website in an attempt to improve it. When this parameter is activated, no personal information is sent to Google and the IP addresses are anonymized.

Advertising

This information allows us to show you personalized advertisements thanks to which Audiofanzine is financed. By unchecking this box you will still have advertisements but they may be less interesting :) We are using Google Ad Manager to display part of our ads, or tools integrated to our own CMS for the rest. We are likely to display advertisements from our own platform, from Google Advertising Products or from Adform.


You can find more details on data protection in our privacy policy.
You can also find information about how Google uses personal data by following this link.