Stereo Delay - Part 1
Lesson 44 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Stereo Delay - Part 1
Lesson 44 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Lesson Info
44. Stereo Delay - Part 1
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
Stereo Delay - Part 1
Hi. In this video, I'm gonna show you how to use logic Pro Ten's stereo delay. So I've got my lead vocal track here. And what I'm actually gonna do is instead of loading the stereo delay on the chain itself, I'm actually gonna set it up as a send so that I can also send other instruments to it if I want to. So the way I do that is simply click just here below my existing sends and go to bus and just go to an available bus and you see here it's set up an auxiliary channel strip just to the right of the channel strip there. What I'm gonna do is just load the stereo delay. So let's go to delay, stereo delay, stereo just close that for a minute. And then I'm just going to send some of this signal to that stereo delay. The benefit of doing this is not only do I have a whole channel strip for this delay, I also have a fader so I can adjust it in the mix and also I can send other instruments to that same bus delay. So let's move forward with exploring the stereo delay. Now, just going to call...
this delay bus. I just did ST hyphen delay for stereo delay. So I know what that bus is when I look at the mixer and I've sent some to it and let's have a listen, rushes past my face and through my head for the briefest of moments, I feel like I'm flying. Ok. So there's quite a bit of stuff going on there. I can hear some repetitions on the left and some repetitions on the right. What I'm gonna do is toggle the mute on the bus just so that you can hear the difference rushes past my face and through my head. For the briefest of moments, I feel like I'm flying. OK. So it really does add some depth to the sound just as it is. But now we're gonna go into the delay itself and explore the settings and refining the settings for what we're working on. What I'm actually gonna do is solo this bus when you solo the bus that the delay is on, you're only hearing the full wet signal if you like, she just passes my face. So you can just hear the separate delay feeds going left and right there. Let's have a look at how that works. So I just open the stereo delay and here we are lots of features here. Lots to explore. Now, the first thing to note is that it's a stereo delay. So even if you load this on a mono track, it effectively becomes a stereo track. The mono signal will go into the plug in one version of it will be sent to the left delay and another version of it will be sent to the right delay allowing you to take a mono track like a vocal and add some stereo depth to it, which is pretty cool. In this video, we're gonna explore some of the simplest features of the delay. So let's start with the delay time. So the delay time is just the interval in which the repetitions happen. So let's for example, switch the left delay to a to 1/16 dotted. See what that sounds like. The wind rushes past my face and through my. So if you're using headphones or a stereo set of monitors, you should be able to make a distinction between what's going on left and what's going on, right. And also I can assign the frequencies at which the filter are effective on the left channel. So let's say I do a really, really high narrow filter on this one. So starting at five kilohertz and going up to 20 kilohertz. Let's 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. OK. So you can hear that it's a really airy delay on the on the left channel there. The good thing about that is is that if there's like a lot of energy already in that part of the frequency spectrum in the mix. Then you can just focus the delay in a more empty area of the frequency spectrum, which can really, really help the mix. You can still have that depth, you can still have that sort of sense of width, but you could just focus it on a particular area in the frequency spectrum. And you could do that left and right independently. You might already have a lot of sort of midrange energy on the left channel, but not so much on the right channel. And you can assign those filters independently left and right, the wind rushes past my face and through my hair as well. A stereo delay with this many features has many creative applications beyond just mixing. But it's really useful for adding depth to a vocal in the mix as well. We have a feedback. So this basically determines how intense the feedback loop is. So when the signal gets duplicated and then delayed and then fed back into the dry signal to create repetitions, this is the intensity of that feedback loop and we could set that independently for left and right as well. You know, she's touched my face and my, so you can hear there that the left delay just rings out quite a lot longer than the right delay does when my face. Mhm Great. You can also assign a cross feed from left to right. So you can have some of the feedback going from the left bleeding to the right. So let's experiment with that. When was OK. Yeah. Go bring his and vice versa with right to left when OK. Mhm When he rushes past my face and my OK, I am just going to adjust the filter on the right channel. Now he rushes past my face and through my for the briefest of moments of you are flying. OK? And I'm just going to adjust the rate of the left delay, just gonna make everything a bit slower. So you can more easily discern between the repetitions and a bit more rhythmic as opposed to just flutters. So let's make this one an eighth dotted. See what that sounds like against the Cochet on the left. Win. Rushes past my face and my, for the briefest of moments, I feel like I'm flying great. I really like the way that the rhythm of the left works against the right there and I'm gonna listen to what that sounds like in the mix. So I'm gonna uns soo my delay bus and then I'm gonna ride the fader to kind of adjust the balance between the delay against the dry signal. I'm actually gonna start from negative infinity and then just bring it into the mix a bit and rushes past my face and through my hair for the briefest of moments, I feel like I'm flying, rushes past my face and through my hair for the briefest of moments, I feel like I'm flying, rushes past my face. Ok. So hearing it in context of the mix, I probably wanna slow things down a bit. I thought it was just a bit still to a bit too flattery for the overall sort of rhythm of the music. So I'm just gonna make some final adjustments. Make this 1, 1/2 and this one, let's try quarter dotted. See what that sounds like. Rushes past my face and through my hair. Ok? I think I find that quarter dotted a bit distracting. So I'm going to adjust this now to something a lot slower. Let's go with this and rushes past my face and through my hair for the briefest of moments. I feel like I'm flying, rushes past my face and through my hair. I gonna dial down the feedback actually cos that's ringing out a bit too much for me. I'm gonna refine this even more. So let's just do watch it on that channel and rushes past my face and through my hair for the briefest of moments. I feel like I'm flying rushes past my face and through my hair for the briefest of moments. I feel like I'm flying, rushes past my face and through my hair for the briefest of moments. I feel like I'm flying cool. Get in there. I just want to make some final adjustments on the filters here because I really like the way that it's just creating like a bed of sound in the far sides of the stereo image here. So it's really given the mix a sense of depth, just need to refine the filter. So it's not too muddy in the frequencies below it then rushes past my face and through my hair. OK. Nearly there just solo this now. She's, she's OK. What I think is distracting actually is that the feedback for the quarter notes is longer than the half notes. So I'm gonna increase the feedback on this one. Decrease the feedback here. Bit less cross feed between them. She's, she's me face to face. OK? A little less feedback on the left. She OK? And now I'm just gonna turn down the right because it just seems a bit louder. It just seems a bit heavy on the right channel. So I'm just gonna dial down the mix there when Marshes Marshes pass and then just bring the low C A soot up. It's still just a little bit heavier when mass Mass Mashes passes the bit more feedback on the right. When was and a little less on the left. 444. There we go. So there's nice airiness going left and right, creating a sort of wider image and there's plenty of space in the middle for the main vocal. So I'm just gonna uns solo this now and see what that feels like and ride the fader. Rushes past my face and through my hair for the briefest of moments. I feel like I'm flying. Awesome, much closer to what I want to get to. And those are some of the basic features of the stereo delay. Thanks for watching and I'll see you in the next video.
Class Materials
Bonus Materials