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hey how's it going I'm Ben Lindell and
today I want to show you a couple of
creative uses for both delays and side
chain compression and gating let's get
started so today we're going to be
working in Persona Studio 1 I've got my
track and vocal here and before we start
adding delays let's take a listen to
Just the dry vocal so we can hear what
we're working
with last night you
on
my so you can hear there's a lot of
space in between each vocal phrase so
that's a lot of opportunity for me to
add some cool color using delays so I'm
going to drag the analog delay plugin
over to my sends on my vocal
track going set it up for eighth note
delay let's give it a lot of feedback
maybe some
saturation cool let's check this out and
see how it sounds this is the analog
delay on eighth notes just on the vocal
track
you on my
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mind so I really like the delay tale
that I'm getting now but on this third
line while he's still singing the delays
are starting to Jumble it up and it's
getting a little less clear and that's
what I want to try to avoid let's listen
to that third line just on its own
last night you
were on my
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mind so the way I'm going to solve this
problem is by using a compressor after
the delay and then use the side chain
function so that it's listening to the
dry vocal and compressing according to
that so while the singer is singing boom
compression and as soon as he's done
singing the compressor will let up and
we'll hear the delay tailes let me set
that up and show you how it's done
I'm going to drag over the compressor
and place it after the analog delay and
then on my vocal track sends I'm going
to add side chain side chain analog
delay inserts to compressor perfect so
as you can see the compressor
automatically switched over and now it's
listening to the side chain input which
is my lead
vocal now I'm going to press play and
adjust the settings so that when he's
singing I don't hear as much delay and
as soon as he stops singing I'm going to
hear a lot of delay let's check this
out but you won't give me your
time so I
stay up late and think of
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you so generally speaking with side
chain compression the most most
important knobs are your attack and
release
knobs in this case I'm going to want to
have a short attack so it clamps down as
soon as there's a lead vocal and then I
need to time my release so it's Musical
and helps shape how the delays come in
after the vocal finishes so let's take a
listen and I'm going to continue to
tweak the release knob so you can hear
the differences between a short release
and a long
release last
night you
were on my mind
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but you won't give me your
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time so as you can hear when I have a
short release the ducking isn't quite as
effective and it's letting some delays
through even before the phrase is
finished that's because he's finishing a
word the amplitude goes down the
compressor lets up and on a longer
release the compressor waits for the
phrase to be finished and then slowly
lets up from the compression letting you
hear the delay tail
so let's hear that again without the
side chain
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compression and let's hear that again
with the side chain compressor in
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abled so that's a very practical way to
deal with delays by using side chain
compression now I'm going to use the
side chain expander to do the exact
opposite which gives a very cool and
creative effect I'm going to turn off
the
compressor drag over an expander once
again after my analog
delay on the vocal track I'm going to
send to my expander side
chain and now my expander is
automatically listening to the external
side chain now I need to disable the
duck function on the expander and let's
check this
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out but you won't give me your
time so by side chain the expander I'm
getting the exact opposite effect of
what I was getting with the side chain
compressor when the vocalist is singing
It's allowing the delay to speak but as
soon as the vocalist finishes a phrase
the expander clamps down and cuts off
the delay
tail so today I showed you two creative
uses for side chain compression and
expansion while using delay SCS one of
them helps clear up my mix and un
muddies the vocal from the delays and
the other one's a very creative way to
add almost unnaturalness to the space
and both of these you could take and
apply to any other effect Reverb chorus
flange you name it I want you to take
these techniques and run with them and
make them your own till next time time
I'm Ben Lindell
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