Lesson Info
43. Delay - Echo
Lessons
Introduction and Welcome to this Class
00:52 2Project Organization
09:47 3Faders and Panning
11:13 4Flex Pitch - Vocals
05:18 5Flex Time - Vocals
03:05 6Editing Studio Drums
09:29 7Song Mix Deconstruct - Mixing Drum Kit Designer
08:04 8Mixing Files
01:50Tips to Start a Mix
02:11 10Mixing vs Mastering
02:19 11Introduction to Mixing with Logic Pro's Audio Effects
00:47 12Channel Strip and Routing - Part 1
04:39 13Channel Strip - Part 2
07:00 14Bussed Effects
11:25 15Gain Staging Audio Tracks and Pre Fader Metering
11:44 16Gain Staging Software Tracks
03:45 17Mixing with Channel EQ
19:57 18Mixing Vocals with Compressor - Part 1
08:25 19Mixing Vocals with Compressor - Part 2
06:44 20Compressor Circuit Types
13:07 21Compression - Distortion and Limiting
10:47 22Sidechain Compression
06:37 23Compression - Part 5 (Glue)
02:52 24DeEsser
12:03 25Multipressor - Part 1
09:31 26Multipressor - Part 2 (DeEss)
06:11 27Multipressor - Expander
07:33 28Dynamics Wrap up
09:05 29Compression with Flex Pitch
04:49 30Exciter
05:03 31Noise Gate
04:14 32Noise Gate - AHR
07:16 33Noise Gate - Hysteresis
02:07 34Chorus
06:04 35Introduction to Automation
09:44 36Touch Automation
03:46 37Trim-Touch Automation
05:28 38Relative Touch Automation
04:34 39Automation Curve Tool
04:09 40SilverVerb - Part 1
18:11 41SilverVerb Modulation
02:57 42Sample Delay and HAAS Effect
05:29 43Delay - Echo
09:35 44Stereo Delay - Part 1
14:25 45Stereo Delay - Part 2
04:00 46Stereo Delay - Part 3
08:24 47Tape Delay - Part 1
13:29 48Tape Delay - Part 2
05:07 49Thanks and Bye
00:07Lesson Info
Delay - Echo
Hi. In this video, I'm gonna show you how to use logic pro's echo as a feedback delay in logic pro 10. So what I mean by feedback delay is a normal delay like the sample delay just delays the signal. But a feedback delay like the ones we commonly use for echo sorts of effects are when the delayed signal gets fed back into the original signal in a loop. So let's start with loading the echo. So I go to delay, go to echo stereo. Here we go. OK. So it has a few options. We have the interval in which the fed back signal is delayed by and we can set that in uh musical intervals such as quaver notes, crotchets, et cetera. Let's go with eighth dotted. I'm gonna dial down the feedback a bit and we also have a dry and wet mix. So this is the dry mix, no delay. This is the actual delay mix here as well. So I'm gonna start at about 90 dry and I'm gonna start about 10% wet and the color here. So the color is just distortion. So if I go to the right, I have one color of distortion. If I go to the le...
ft, I have another color of distortion. When I say distortion, it's just like a saturation. It goes through a process to create new harmonic content to add color to the signal. If you want no color, if you just want a really simple clean delay, you can just switch the color over to zero. So let's start there and experiment with different things. So let's see what this sounds like. She's passed my face and through my hair for the briefest of moments, I feel like I'm flying. OK. So the eighth dotted is actually quite confusing on this one. So I'm gonna switch over to bit of a simpler interval. There we go crotch it, the wind rushes past my face and through my hair for the briefest of moments, I feel like I'm flying. So what I actually want now is for the delay to ring out longer, but I want it to be quieter. So if I want it to be longer, I need more feedback. So I'm gonna increase the feedback and then I'm actually gonna dial down the wet channel here to about 5%. See what that sounds like the wind rushes past my face and through my hair for the briefest of moments, I feel like I'm flying. Great. I'm getting there. I just need to dial down the web channel a bit more and increase the feedback because I would just want a really sort of long feedback delay happening, but quite far in the background. So let's go down to 2% actually and see what happens if I increase the feedback even more. The wind rushes past my face and through my hair. For the briefest of moments, I feel like I'm flying. Great getting there just gonna doll up a bit more feedback down to 1%. Now, the wind rushes past my face and through my hair. For the briefest of moments, I feel like I'm flying. The wind rushes past my face and through my hair for the briefest of moments, I feel like I'm flying. Ok. So let's compare that now to the contrasting setting, which would be less feedback. So let's do 20% and more wet channel. The wind rushes past my face and through my hair for the briefest of instruments, I feel I can fly. Notice there seems to be like less repetitions but the repetitions are louder. So let's dial that down a bit. The wind rushes past my face and through my hair. OK. So between the low feedback and the higher wet signal version and the other one, I kind of want somewhere in the middle. So I'm just gonna dial up the feedback again and all down the wet mix, the wind rushes past my face and through my hair for the briefest of moments, I feel like I'm flying. The wind rushes past my face and through my cool, pretty happy with that. And what I'm gonna do now is experiment with different color on that delayed signal. So let's go for the extremes. The wind rushes past my face and through my hair. For the briefest of moments, I feel like I'm flying, the wind rushes past my face and through my hair for the briefest of moments, I feel like I'm flying. Ok. So at those extreme settings, it's having quite a drastic effect on the delay. It now sounds a bit like a plate reverb or spring reverb. So what I'm gonna do is rein it in a bit and dial down some lower settings has tried minus 30. The wind rushes past my face and through my hair for the briefest of moments, I feel like I'm flying. OK? And let's do plus the wind rushes past my face and through my hair. OK? So you can actually hear a little bit of bytes on those repetitions now, which is what this distortion setting is giving us. I'm gonna increase it a bit more. The wind rushes past my face and through my hair for the brief. That's pretty cool. I'm just gonna dial it down a bit. Now. I only want a bit of crunch on the repetitions. The wind rushes past my face and through my hair for the briefest of moments. I feel like I'm flying. OK? I just dial down the feedback. Now the wind rushes past my face and through my hair. For the briefest of moments, I feel like I'm flying, the wind rushes past my face and through my hair. For the briefest of moments, I feel like I'm flying. There you go. So I've got that effect now where I just get this really low but strong repetition in the background and it kind of just accumulates over time. It kind of creates a bed of sound that just comes from creating this echo delay from the main vocal track here. Let's see what that sounds like in the mix. Rushes past my face and through my head. For the briefest of moments, I feel like I'm flying, rushes past my face and through my, for the briefest of moments, I feel like I'm flying great. So when I toggled the bypass there, I noticed that with it on, it just helps, just like other plugins do just helps embed the vocal into the mix. So that doesn't sound so detached from everything else. So that's how we use Logic Pro Ten's echo when mixing. Thanks for watching and I'll see you in the next video.
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