Plus, it’s commonly included in Waves’ popular plug-ins bundles, so if you do happen to pick up say, a Gold or Platinum bundle, chances are you’ll get a slew of other great plug-ins to produce with. With its deep controls and time range of 1 to 3,500ms, you’ll be able to achieve all sorts of effects from filtering, flanging, and phasing to some good old-fashioned slap-back echo, ping-pong delay and more. This is a well-refined, elegantly presented delay that lives up to its name and comes at a very respectable price.”Īn oldie but a goodie for sure, Waves’ H-Delay is one of those plug-ins that has been around the block several times but still sounds great nonetheless. In our well-deserved perfect review, we said: “It has huge potential for complexity, but it can also be deployed quickly and effectively without eating into production time. The icing on the cake is that information is laid out neatly in a well-thought-out user interface. It’s clear that this is so much more than just a simple tape delay. With its deep controls and expansive features, you’ll find yourself crafting everything from lush vintage-style tape echoes to warped modulations and washed out lo-fi pulses in no time. Kicking off this list strong is Timeless 3, the latest edition of the Fabfilter’s vintage tape delay plug-in series. Usually, this involves emulating the warmth of bucket-brigade chips as heard in guitar pedals such as the Electro-Harmonix Memory Man or MXR Carbon Copy.
Here’s a breakdown:Īnalogue – really analogue-style – means a delay that has been designed to take after real-world circuits. What types of delays are there, and how are they different?įor this list, we’ll categorise delay plug-ins into four types: analogue, digital, tape and creative.
Essentially, if you set the feedback setting all the way up, the delay feeds back into itself infinitely adjusting the time setting while this happens lets you fluctuate the pitch in some very trippy and fun ways.Īnd sure, while you can automate self-oscillation through your DAW, take it from us: it’s a lot more fun and intuitive when you can actually get your hands on the dials – so consider getting a MIDI controller if you haven’t already got one. On self-oscillation: it’s a sound you’ve probably heard before (For reference, check out the ending of Radiohead’s Karma Police). With the latter, this is done by feeding the repeated sound back into the delay, hence the term feedback. Time controls how long it takes before a sound is first repeated, while feedback decides how many repeats there will be. That falls mainly on three ubiquitous delay controls: time, feedback (sometimes referred to as repeats or regen) and mix.
SIMPLE DELAY HOW TO
These will sound different based on your delay’s tone and temperament, and we’ll go through how to do that next… How do delays work?Īs their name suggests, a delay’s main function is to repeat (or echo) a sound a set number of times, and it’s on the user to decide how it should sound to best fit their production. They can also be applied creatively to create sonic webs and arpeggiated pulses – or even as a callback to a particular era of recording: throwing on some slapback delay onto a vocal or guitar track for a 50s-recording feel.ĭelays can also be “played” as instruments, achieving wild and pitchy fluctuations when you set them to self-oscillate.
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