Tape Delay - Part 2
Lesson 48 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Tape Delay - Part 2
Lesson 48 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Lesson Info
48. Tape Delay - Part 2
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 2
Hi. In this video, I'm just gonna run you through the modulation section in logic pro's tape delay. So what we have here, it is a delay unit that I've put on this bus and I've soloed it. So let's have a listen to that. When was his precious mash? OK. So that's the tape delay in action there. And what I'm gonna show you now is the LFO and what that actually does to the delay. So the LFO is a low frequency oscillator and that oscillator is used to modulate the delay time. OK. So there's a delay time and the LFO just pushes it back and forth in time. So if there's a delay time of a crotchet note, for example, it will just increase and decrease it at the rate of the LFO and at the intensity set by this style here. So let's actually listen to what that sounds like. What I'll do is I'll switch the LFO rate to one Hertz, which means one cycle per second. So picture a sine wave that just crosses your ear in a second and I'll increase the intensity. So what you should hear now is the delay time...
just deviate slightly from crotchet notes or quarter notes. When was p mash fresh? So, as you can hear now, the repetitions are a bit more varied. They're a bit more irregular. Let's turn that down. Wind roses, mass smashes there. Ok. For the briefest surface of the country. When using its extremes, this can create a chorus like effect because it's effectively a similar process to what a chorus does. I'm gonna increase the rate here just so it's a bit more noticeable. No. So that's what it sounds like at 10 Hertz. So remember 10 Hertz is 10 cycles per second. So I'm just gonna turn that down, gonna make it really slow. So at 0.5 that's half a cycle per second. And I'm just gonna dial down the LFO intensity when rushes, rushes, rushes, rushes great. The next thing I wanna show you is flutter. So the flutter in the tape delay just emulates the natural variations of a vintage echo delay naturally with analog or type based equipment. There's going to be variations, there's gonna be flutters. So this allows us to emulate that character if I increase the flutter intensity and have it at a rate at let's do 0.5 Hertz. This will create some speed or pitch variation to the delayed signal. Let's have a listen. When Ross Bushes rushes, rushes just gonna turn down the LR intensity just so that we can isolate the flutter when was pre smash. Finish OK. So you could hear some repetitions there that sounded like higher pitch notes. That's because they were higher pitched notes just gonna increase the rate. So things get really modulated, the wind brushes past me. Excellent. Generally, I prefer quite slow settings because I like to use long tape delay echoes which just accumulate a sort of bed of sound at the back of the sound stage, which really adds some depth to the mix and some slight flutter on them just makes things a bit more interesting. A little less static, a bit more colorful. So that's logic pro's tape delay and how you use it and how it might be useful to you when mixing. Thanks for watching and I'll see you in the next video.
Class Materials
Bonus Materials