Sometimes we want to add tight space to sounds, and this technique provides an excellent alternative to reverb

Delay lines form the basis of quite a few effects, and each individual technique is worthy of its own masterclass. This month we’re looking at how we can use short delays.

When we mention delay as an effect it usually conjures up images of long repeating style echoes, or even spins (which we covered back in Masterclass #2). But much shorter delays can also be very handy. As we discovered when looking at adding width (in our first Mix Masterclass), when we combine delayed and original signals, if the delay is very short (less than about 30ms) it’s impossible to differentiate the two signals (the Haas effect). Here, we’ll be looking at delays that are a little bit longer than that from around 40ms to 100ms, but are still shorter than the traditional ‘Elvis’ slapback echo, which is around 135ms.

The concept is that a short delay with minimal or no feedback replicates the early reflections you hear in a space. This is the same concept you find in the first stage of a typical algorithmic reverb (early reflections). However, by adding a delay or delays from scratch you’re creating a simpler and more easily editable version of this, and also not getting drawn into editing a reverb plugin of course. The technique works well on vocals, but is also great for adding space – but not too much – around sounds including drums and other instruments.