Tape Delay - Part 1
Lesson 47 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Tape Delay - Part 1
Lesson 47 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Lesson Info
47. Tape 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
Tape Delay - Part 1
Hi. In this video, I'm gonna show you how to use logic pros tape delay. So first of all, let's set up a bus for this tape delay. I've got this one here where I had the stereo delay. So what I'll do is I'll just replace the stereo delay there with the tape delay. So just click here, go to delay, tape delay, the stereo. So logic pro's tape delay emulates the sound of vintage tape echoes. It functions like a stereo delay, but it gives you a few more features in terms of character and tone and it's especially good for dub stuff, but it can be applied to any type of music. So on the left here, just like any other delay plug in, we have the delay time which we can sync to tempo or we can just assign a timing of our choosing in milliseconds. And when we have tempo sink on, we can choose the interval at which it syncs to. So like quarter notes, et cetera. And we have deviation how much this deviates from the delay time that we've chosen on the right hand side here, we also have characters. So ...
this is where we shape the tonal properties of the delay when you have a low clip threshold, that creates more harmonic distortion. So let's actually have a listen to what that sounds like. So we'll start at zero and I'll do an I've dotted zero deviation and I've got plenty of game going in. So that should be quite audible. Could I rename this bus tape delay now and I'm gonna increase the feedback. So the feedback is basically just how loud the signal getting fed back into the dry signal is which results in more repetitions or more elongated delay lines with repetitions. What I'll do first is just solo. The vocal track and listen from here. 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 you can hear the repetitions now as I turned up the fade on Net bus, what I'm gonna do as well is temporarily bypass this river bus cos it's a little bit distracting. It's hard to isolate the tape delay from the reverb. So let's listen to that again. The wind rushes past my face and through my hair for the briefest, the moments I feel like I'm flying great and I'm actually gonna turn up the wet channel on the tape delay and then I'm gonna ride the fader down on the tape delay bus because thats how I prefer to mix the delay signal. The wind rushes past my face and through my hair for the briefest, the moments I feel like I'm flying. Ok, I'm gonna increase the feedback a bit more. The wind rushes past my face and through my hair. Let's go with some more feedback. The wind rushes past my face and through my hair. Great. What I'm gonna do now is use the inbuilt filter because it's quite a muddy delay. So I'm gonna increase the frequency of the low cut. Let's go with somewhere in the sort of vocal range. 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. So you're starting to hear now how this would be a great delay for that sort of dubby vintage tape echo sound. What I'm gonna do now is actually experiment with the clip threshold to change and shape the color of those repetitions. This is where stuff starts to sound more like tape, 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 listen to the same, but with diffuse mode on. So this refers to the simulated position of the tape pad, the wind rushes past my face and through my hair. OK? And what I'm gonna do now actually is uns solo, the vocal track and just solo, the delay bus and turn it up just so that we only listen to that cos I really wanna hone in on the actual tone. Now, when will she pass my face through my hair? Let's compare that to clean. When will she pass my face through my hair? For the briefest of moments. I feel like I'm flying and if you grab the middle of the two sliders there for the filter, you can move the band across the frequency spectrum here. So let's bring it down a bit more. When will she pass her first lesson through her hair? Yeah. And now let's experiment with changing the clip threshold. When will she pass for the briefest three more? I feel like when will she tell her? OK. There's not a lot in it at the moment. So we're gonna go for some more aggressive clipping in the moment and I'll show you how we do that. But the first thing I'm gonna do is increase the spread here cos I want it to spread out a bit. When will she play? So as you can hear now, those repetitions have spread out in the stereo field before they were just narrow. Now they're spread out, which can really help in the mix actually because if the middle of the mix, if the center of the mix is a bit muddy with the type echo, you could just spread it out and it really helps not clutter the center of the image. When will she start? OK. So what I'm gonna do now actually is increase the gain going into the bus because I wanna hit the distortion a bit harder. So let's try this value. I'm gonna compensate by turning the fader down. When will she tell her to for the briefest three? I feel like I cry 33. When will she try to play? OK. And what I'm gonna do now actually is an old trick that I used to do quite a lot just to get some saturation into my tracks without actually having to use a delay was I would turn off tempo sink and turn the delay time down to zero and just use this as a distortion. So I'm gonna start with full range here. I'll start with clean. That feedback is fine. Win marshes past my face and through my hair for the benefit. The moments I feel like I'm flying see how we have maximum distortion at minus 20 DB there. What I'm gonna do to increase that even further is gain stage before and after the tape delay. So what I'm gonna do is first and this is important is that you turn down the gain after it first before you turn up the gain going in. So I'm gonna do minus 10 here and plus 10 going in because it's a saturation, meaning that the amount of signal going in will determine how much it distorts. So I'm just driving more gain into the plug in. Now, please be careful when you're doing this at home, you really wanna make sure that you're compensating on the output first with minus 10. So let's see what this sounds like. She's punched my face and through. Now let's compare that without the pre and post gain and now she's past my face. So a different tone altogether there. She's passed my face and now let's drive even more game going in. So plus a minus and then from here you can refine with the clip threshold and then when she's past my face and that sounds quite cool and let's try, interface might rushes past my face and through my, that sounds cool, very roomy, very vibey. And what I'm gonna do now is actually bring up the low cut cos that could be quite muddy in the mix, brushes, touched my face and through my awesome. So we've gone a bit beyond using this just as a delay plug in. We're now using this as a tape plug in. And the cool thing is because I've got this on a bus. It means I can actually just use this as like a parallel type process. So I'm gonna unso that now bring that fader down, brushes past my face and through my hair for the briefest of moments, I feel like I'm flying so you could hear that as I brought the fader in it added that saturation that diffuse sound. So now it sounds a bit more roomy, a bit more vibey as well. So, so there's plenty of options there to experiment with. But going back to its application, there's a tape delay. The only difference is the actual delay time. I had the delay time there at zero. So I was just kind of using it for the character there. So from here you could just reassign the delay value that you want and use it as a delay plug in again. Thanks for watching and I'll see you in the next video.
Class Materials
Bonus Materials