00:00if your guitar tones are feeling flat or
00:03uninspired then it might be time to
00:06delve into the Mysterious World of delay
00:08now delay is a really cool tool that can
00:10elevate your entire sound and take it to
00:13a whole new level but only if you know
00:15how to use it properly now in this video
00:17what I'm going to do is I'm going to
00:18demystify delay I'm going to show you
00:20how to set it up how it works and
00:23ultimately how to make it work for you
00:25so let's dig into the wonderful world of
00:32now that you know that the world of
00:34guitar delay was really pioneered by
00:36Visionaries like Les Paul way back in
00:39the 1950s so what they did is they used
00:41a combination of tape loops and sound on
00:44sound techniques and Les Paul's
00:47Innovative mind was really the the
00:49Genesis behind multi-track recording and
00:52that laid the entire foundation for what
00:55we now call delay and in that technique
00:57delay was further expanded by guitar
00:59players like David Gilmore who really
01:02had the spatial sound and of course the
01:05Edge from YouTube took things to the
01:07maximum by making it a total part of a
01:10sound now for us in the context of
01:13worship music the layers really led to
01:15defining a lot more texture and helping
01:18you to create some atmospheric and
01:21emotional Landscapes with your sound
01:23that can draw the congregation into that
01:26worship experience now from legendary
01:28tape machines to Modern digital
01:30processes the layers shaped soundscapes
01:33of countless of genres so let's go ahead
01:36and kick things off with a very core of
01:40delay which is looking at these core
01:42principles and the basic parameters that
01:45you need to understand in order to dial
01:48in a sound that's going to work for you
01:50now at its core delay is all about the
01:53art of replicating as well as
01:55manipulating a sound it's basically
01:58creating Echoes that can add some depth
02:01and emotion and complexity to your
02:04guitar tone so right now I've got one of
02:06our Helix patches Dolly India which is
02:08basically an ac30 amp it's a dry sound
02:13yeah totally dry but if I put on say a
02:19then you can hear those repeats in the
02:25to literally strike to string once and
02:28then you get those Echoes or those
02:30repeats which is really the delayed
02:32signals and that basically came about
02:35from recording the signal uh with those
02:38tape delays and then playing it back and
02:40then I'm adding it to your dry signal
02:43now let's go in and look at how you can
02:45control the settings when it comes to
02:48setting up your delay one of the first
02:50things is note sync this is when your
02:54Echoes are played in time with the beat
02:56so whatever the beat the band is playing
02:59at your Echoes and your delays are going
03:01to be in time with that so instead of
03:04um all over the place it's going to be
03:06in sync with the beat and it kind of
03:22so as you can hear all those delays that
03:25I've just played they were in time with
03:29your music now BPM that stands for beats
03:32per minute now back in the day if you
03:34wanted to get your delay synced up with
03:36your sound you had to use milliseconds
03:39to dial that in but today we no longer
03:43use that feature because technology has
03:44come a long way so you can just go ahead
03:46and set the BPM in other words the beats
03:50per minute for the song you're playing
03:51and then you're going to go ahead and
03:53select the note type that you want to go
03:57in and use as a subdivision so that
04:00basically means your beats per minute is
04:03playing at a certain Tempo and then you
04:05have these note types that you can go in
04:07and set the subdivision that will Define
04:10the sound of that so what I'm going to
04:12do right now is I'm going to go over
04:14here to a transistor type delay and I'm
04:17going to put on the metronome and what
04:19I'm going to do is I'm going to cycle
04:20through a quarter note that means for
04:23every click you're going to hear there's
04:25going to be a repeated version of my
04:29delay signal the second variation of
04:31that will be an eighth note which means
04:33that it's going to be twice as fast so
04:35for every click you hear you're going to
04:38get two delayed nodes and then finally
04:41we'll look at a famous dotted eight
04:44subdivision and that means for every
04:47click you hear every one and a half
04:50beats later you are going to hear a
04:52subdivision and over time that creates a
04:55really cool feel so let's go ahead and
04:57look at how you can use quarter notes
05:00eight thirds and dotted eighth notes as
05:02different subdivisions which will
05:04determine the interval at which your
05:07repeated notes happen in time with the
05:11beats per minute which is 78 BPM in this
05:14example and now for every click you hear
05:19you're gonna hear the repeats of my
05:21delay again here's the quarter Knights
05:24it's now changed to eighth notes which
05:28means that we are doubling the
05:34so for every click here in two repeats
05:40and now let's make that a dotted eighths
05:43and that's going to sound like this
05:52that creates a really cool syncopated
05:54sound so just for fun let me go ahead
05:57and play the same part three different
06:00times using each of these different
06:02subdivisions so we're going to start
06:04with that quarter note and then as I'm
06:06playing it I'll make changes
06:08with the temples of the subdivision and
06:11we'll show that you're on screen when we
06:13are changing that and you can hear what
06:15that sounds like here we go
06:34so now we've covered syncing your delays
06:36with the beats per minute and we've
06:38looked at the different subdivisions of
06:40notes that you can use for your echoed
06:43versions of the delay now next up what
06:46we're going to look at is feedback and
06:48repeats now feedback and repeats this is
06:50a city that's going to control the
06:53Echoes whether it's a single repeat
06:55meaning you're going to strike to stream
06:57once and you're only going to hear one
06:58repeat or whether you're gonna hear
07:00multiple repeats so let me go ahead and
07:03show you what I mean we're going to go
07:04ahead and set the feedback to a very low
07:07level and then you'll see when I play my
07:10note it's literally just going to be
07:11kind of viewing one repeat so right now
07:15we've got that all the way down to check
07:20it's at 40 so you can hear there's a
07:23couple of repeats let's take it all the
07:25way down to say 10 percent
07:28so there's only really one
07:32delay and then there's a few more that
07:34you barely hear so that's kind of at
07:38now if I take it up to 90 percent which
07:41means we're gonna have a lot of repeats
07:49and that will just carry on obviously
07:50makes it 100 we can take that down if
07:53there's a hundred percent then this is
07:55going to be way too many to repeat so
07:57that's why you want to be very careful
07:58with your feedback and I kind of like a
08:03so there's a lot of repeats but as you
08:14then the repeats actually become part of
08:17your playing so that is what we call the
08:21repeats or some people call that
08:23feedback so it just depends on your
08:25delay pedal it's either gonna say
08:27feedback or repeats now let's go ahead
08:29and look at your delay level which is
08:32also called mix so what that does there
08:36you have the ability to find like the
08:38perfect blend between your original
08:40signal and then your delayed signal
08:44because remember we've specified that it
08:46needs to be in time with the beat we've
08:48told it what kind of repeats it needs to
08:50be with it's a quarter note an eighth
08:52note a dotted eighth note and we've also
08:54said well how many of those repeats do
08:56we want only one up to multiple that's
08:59when we played with the feedback and the
09:01repeat setting and then you have the the
09:03volume of those delays which is going to
09:06be your mix so right now the mix day is
09:11that means my dry signal is going to be
09:15a little bit louder than my delayed
09:19now if I make that mix 50 that means
09:22that the delayed signals the repeats and
09:25The Echoes that you're going to hear is
09:27going to be just as loud as my drive
09:33and if I make that say 80 percent that's
09:36something you probably don't want to do
09:37but then your repeated signals are going
09:41to be louder than the dry signal
09:46because see it's kind of taken my drive
09:48signal to around 20 percent of the
09:51volume and then my delayed signal at
09:53around 80 percent of that that mix so
09:56you can control the mix in the same way
09:58that when you mix anything together it
09:59just kind of depends on the ratio so I
10:01like that to be around 40 percent
10:07my drive signal is going to be nice and
10:09front and center but the delayed signal
10:12is still going to be a fairly
10:15relevant in terms of what I'm playing
10:17and how I want that it sound now those
10:19are all the basics of delay and then
10:22depending on the functionality of the
10:24pedal of choice or the unit of choice
10:27that you're using you can also shape the
10:29repeats in a few different ways so that
10:32basically means every time you have that
10:35repeated signal you can go ahead and
10:37shape that now a common way of shaping
10:41those repeats is basically using a low
10:44cut EQ to remove some of the low
10:47frequencies for a less boomy effect
10:49because remember what's Happening Here
10:51is you've got a recording of your notes
10:53that then keeps being played back and if
10:56you don't remove some Troublesome
10:59frequencies it can end up being a sound
11:01that is not really sounding pretty good
11:04as it relates to the repeated versions
11:07of that so a low cut frequency simply
11:10means that after a certain frequential
11:13range we're not going to let any of the
11:16lower frequencies pass through there so
11:18let's go ahead and look at what we can
11:20do here so what I've got here is a dual
11:24and it's got a low cut set at 88 Hertz
11:27that means any frequency below 88 Hertz
11:31that's going to be cut which means by
11:33the virtual fact that I'm cutting that
11:35frequency on those multiple repeats it's
11:38not going to be boomy and messy so if I
11:41take that low cut off
11:43um completely then listen to this
11:50right depending if you're listening with
11:52good headphones you should hear that
11:53it's a fairly muddy sound now if I take
11:56that low cut up to 88 percent
12:03you see it actually makes space in the
12:06mixed day for you what we'll do is for
12:08this experiment we'll go ahead and I'll
12:10play this again and we'll we'll boost it
12:12low cut all the way up and let's kind of
12:14see what it does just for the effect and
12:17you can actually see a more pronounced
12:18result of boosting that low cut
12:22frequency all the way up listen to this
12:35so in that case we've got it around 500
12:38Hertz so you're not actually getting any
12:43in your repeats because we are by not
12:46letting through any of that so let's
12:47take that right back to like 80 Hertz
12:54and now you can hear my repeated sounds
12:56have some body and some um low end which
13:00sounds cool now in the same way that we
13:02can um alter the low cut frequencies you
13:05also get a high cut frequency now you
13:08can roll off some of the highs in your
13:11sound for like an some added warmth in
13:13your tone like if the frequencies of the
13:16repeats if they're a little bit too high
13:18or truly you know it doesn't sound like
13:19a warm and inviting sound so what I've
13:21got here right now is we've got a high
13:23cut frequency happening at 4.2 kilohertz
13:27so it's a much higher frequency
13:29so none of that will come through so
13:33let's go ahead and take it all the way
13:37so there's no high cut happening now
13:43so it's still a fairly sharp sound
13:48and let's take that to like 4.2
13:57see it takes away some of that harshness
13:59and some of that brightness and just for
14:01um experiment side let's boost it all
14:08see now you can't even hear it because
14:10it's not letting any of the frequencies
14:12through right there it's just way too
14:16um we're gonna bring that all the way
14:17back again to around 4.2 kilohertz
14:21and now you can actually hear the
14:23repeats so just remember that you can
14:25use Equalization EQ to cut some of
14:30either the low frequencies or the higher
14:33frequencies in order to get a pleasing
14:35sound on the repeats now something cool
14:38is that you can also add modulation to
14:41those repeats and what modulation is or
14:44grit is basically just a way in order
14:47for you to add an effect on top of the
14:50repeats so in the same way that we can
14:51cut frequencies a low or high we can
14:54also add effects so let's go ahead and
14:57check some of this out yeah I have a
15:00so I could deal delay which will check
15:05and I'm gonna go ahead and turn mod mode
15:07on now what mod mode will then do it's
15:10going to give me the ability in this
15:12case to add chorus A Chorus effect to my
15:22now let's just make this very pronounced
15:24and put that speed and depth all the way
15:26up and then again yeah it's not going to
15:30and you can actually hear that effect
15:32very pronounced on my repeat
15:36but if you take it down to like say 2.7
15:48like in yeah I've got some modulation
16:01kind of sounds cool and if I take the
16:03chorus off the mod mode off
16:06that's what the delay sound like
16:12it's gonna sound different so that is a
16:15way that you can add modulation to the
16:17sound which is chorus so you can also do
16:23will boost the speed in the depth so you
16:25can hear that a bit more clearly
16:34and at this point it becomes very wobbly
16:36and not nice but if we bring that down
16:38for a touch like a spice as it relates
16:41to your speed and your dips
16:55then that modulation can really help you
16:58and shape those repeats now with these
17:00techniques you could talk and evoke some
17:02rich textures and emotions and it's all
17:05up to you how you want to use that so
17:07we've spoken about the parameters and
17:09the basic concepts Beyond delay let's
17:11Now quickly go ahead and look at the
17:13different types of DeLay So in the same
17:16way that you have some common delay
17:18parameters you need to understand that
17:20delay is not a one size fits-all sound
17:23and that basically means that delays
17:25come in various flavors and shapes and
17:27sizes and that just adds to the whole
17:30fun and process of Discovery in dialing
17:33in a tone that really works for you what
17:35I like to do now is real quick look at a
17:37couple of common delay types we're going
17:39to start by looking at tape delay now
17:43essentially emulates the warm and Rich
17:46sound of those vintage tape machines
17:48like we mentioned Les Paul in the
17:50beginning of this video it's going to
17:51create these echoing effects where
17:53there's like a natural degrading of that
17:56sound which comes as a result of the wow
17:59and flutter of the tape machines which
18:03really adds to that nostalgic touch to
18:05music now in tape delay well and flutter
18:09that basically just refers to the
18:10fluctuations in pitch and timing which
18:14was really caused by the irregularities
18:16in the physical tape mechanism because
18:18remember you add these mechanisms that
18:21had to spin a certain way in order to
18:22play that back to you so wow refers to
18:26slower more perceptible pitch variations
18:28while flutter is going to refer to the
18:31faster more subtle changes and when you
18:34put the world flutter together it
18:36creates this unique organic sound that
18:38gives a very warm and vintage character
18:40to your delay effect so right here you
18:43can type delay in action
18:48so that is the transistor type and if I
18:51turn it while flutter feature up on the
18:59you see it introduces some of those
19:01irregularities that people have come to
19:04love about the tape and the transistor
19:13so there's a degradation so to speak of
19:17your delayed signal as a result of tape
19:20delay and now of course with digital
19:22units like the Helix like we use and
19:24also the camper profiler and pedals like
19:27jet pedals we can go ahead and replicate
19:30those kind of delays so that's one of
19:33the first delays that people like to
19:34replicate which is a tape delay and
19:36another favorite is the analog delay now
19:40an analog delay that's known for again
19:42it's some warm and slightly degraded
19:45repeats but it uses analog circuitry
19:48which gives it that organic and vintage
19:51feel and which is really cool and it
19:54adds a nice to your playing and people
19:56obviously as guitarists will like the
19:58Vintage sound and now you can take a
20:01digital sound and you can basically
20:02replicate that analog delay so here we
20:05have a vintage digital so to speak so
20:08it's a vintage replica but we are doing
20:11that with a digital type of delay
20:31on the contrary when you go for things
20:34like tape delays and vintage delays and
20:38analog delays you also have digital
20:40delay where they basically got rid of
20:44irregularities like the wow and flutter
20:47and all those things as a result of the
20:48analog circuitry so digital delay is a
20:51very precise and clear way of creating
20:54repeats but it sometimes lacks some of
20:56that character that we like to get you
20:59know from the analog sounding delays now
21:02another delay it's one of my favorites
21:04is the Dual delay and the reason I like
21:06this it's basically got two independent
21:09delay lines that can really offer some
21:12intricate rhythmic possibilities when
21:14you are playing and it allows for some
21:16super cool layered textures and some
21:19complex patterns that can create a super
21:22cool Sonic landscape so here we have a
21:27end we've got eighth notes happening and
21:31on the other end we've got dotted eight
22:02so with those two different delay lines
22:06happening one is happening on an eighth
22:08note another one is happening in a
22:09dotted episode that creates a very cool
22:12pattern that you can use in your playing
22:15another common one is the ping pong
22:17delay now like Ping Pong like the name
22:21suggests it's a delay that's going to
22:22send Echoes bouncing between your left
22:25and right channels in like a stereo
22:27field and ultimately that's going to
22:29create like a very Lively and immersive
22:32spatial effect that again adds some
22:34depth and movement to your sound so if
22:37you've got headphones on you're going to
22:39hear the sound ping-ponging from left to
22:52delay bounces from left to right now
22:55another common one which is not that
22:57common in modern worship music but it's
23:00definitely a common type of delay it's
23:02known as your slapback delay and that
23:04one is characterized by like a single
23:06short repeat and that slapback is going
23:10to produce like a quick Echo effect and
23:12that's the kind of thing you'd probably
23:14use in rockabilly and country music and
23:16it just kind of gives a bit more of a
23:18lively reflective character to the
23:20guitar sound so let's have a quick
23:24can you have to very quick delay it
23:26almost sounds like a slapback
23:27I keep playing a sound and it's slapping
23:42all right you probably heard that with
23:44some blues and rockabilly style playing
23:45it's quite a fun one to do and the final
23:48one we look at is like multi-tap delays
23:50and what multi-tap delays features is a
23:54multiple delay lines or taps which is
23:57where the word comes from and multi-tap
23:59delays will offer you like a very
24:00intricate rhythmic pattern along with
24:03some ambient textures
24:05really creates like a wide Sonic sound
24:08and it's super useful for some creative
24:23as you can hear that's a bit more of an
24:25effect and a bit more pronounced so you
24:27have to be very careful when you get
24:29into more of the creative applications
24:31of these to make sure that it's actually
24:33going to fit with what you are playing
24:34now of course there are more types of
24:37delays and if you look at something like
24:39the Kenpo the Helix they've got you know
24:41Stacks and stacks of different delays
24:42that you can go in and Cycles through
24:45but delays really have to find music
24:48genres from vintage rock all the way to
24:50Modern worship which is why it's
24:52important for you to know how to use it
24:55now I'd like to look at some special
24:57delay techniques as well and that you
25:00can use to get even more out of your
25:02delays and out of your sound and the
25:05first thing that we have there is delay
25:07ducking now delayed ducking is basically
25:09a dynamic play with your volume control
25:13so while you are playing ducking will
25:16lower that delay signal even though you
25:19might have seen it at a high percentage
25:20in your mix but it's going to lower that
25:22signal so that we when you are playing
25:24you don't really hear it but when you
25:26stop playing then the volume will
25:28increase again and then you're gonna
25:30allow the delay signals to be heard for
25:32clarity and impact so what I'm going to
25:34do is I'll play a little bit and you'll
25:36see as long as I'm playing you're not
25:38really hearing the delay but when I stop
25:40that is when you're going to start
25:50see if I display one out and let it go
25:54you hear it but if I play the whole time
26:01your only year the delays to come three
26:04once you stop playing so that's delay
26:07ducking sometimes there's a use for that
26:09when you don't want the delays to kind
26:11of interfere with what you're playing
26:13but as you stop playing you want those
26:15trails to kind of sound out and that's
26:17when you use delay ducking now reverse
26:19delay is another fun one that's kind of
26:22a cool effect that you can use to get
26:24some almost like psychedelic or surreal
26:26kind of sounds you know think back to
26:28guitar players like Jimi Hendrix and
26:31basically what they did is they took
26:33that a reverse signal of the delay to
26:37create a really cool texture of that so
26:39it can create like a dream like kind of
26:41a sound and it's going to definitely be
26:43very specific so as you can yeah over
27:00that's obviously going to sound very um
27:0270s rock kind of sound
27:11and you can use it in your playing
27:20it's going to add some fun to your sound
27:23and then it's filtered delay as well
27:25where you can apply filters to the
27:27delayed signal so you can have it
27:29anything from Bright Echoes to like dark
27:32and muffled repeats the possibilities
27:34are really endless and we've looked at
27:36how you can add chorus and vibrato and
27:39you also have a range of other things
27:41that you can use with those repeats as
27:43we wrap up let's look at some of the
27:45common mistakes along with some of the
27:47solutions to those mistakes when it
27:49comes to using delays now as you can see
27:51throughout this video the possibilities
27:53that you have for shaping your turn with
27:56delay is truly endless and when you
27:58combine all of these elements together
28:01um you know the options are like endless
28:03like I just mentioned but you need to be
28:05careful because delay can be tricky when
28:08used incorrectly it can really muddy up
28:10the sound so what I want to do now is I
28:11want to point out a couple of common
28:14delay mistakes that might cause some
28:16tonal issues for you now the biggest
28:18mistake like everything in life and
28:21specifically in tone is overusing it so
28:24remember that more isn't always better
28:25too much delay can muddy your sound and
28:28sometimes less is better so make sure
28:31that you use the right ratio of your
28:33delays with all the parameters we've
28:35looked at another mistake is not
28:36correctly syncing your delay to the BPM
28:39the beats per minute and that's going to
28:41lead to some disjointed Echoes that's
28:43going to clash with the Rhythm and the
28:45overall feel of the song So if you're
28:47using say a rhythmic delay you want to
28:50make sure that it's properly synced with
28:51the rest of the band so when you play
28:53it's going to fit right with the beat
28:55and you do that by sinking it to the
28:57beats per minute and then choosing the
28:59right subdivision just to get that sound
29:02that you're after another mistake is not
29:04watching your feedback and your mix and
29:07that can cause problems for you when
29:08these things are set too high so to keep
29:11things nice and tight and avoid some of
29:14these overwhelming repeats and make sure
29:16that you find the right balance between
29:18the amount of repeats as well as the
29:20volume of the repeats go ahead and play
29:23with those ratios and if you follow all
29:25these guidelines that I've given you
29:27today you're going to go ahead and
29:29master delays creative potential as you
29:33dive into this awesome world of Sonic
29:36exploration as a result of using delay
29:39well that's it for this video we've
29:41covered quite a bit of ground from the
29:43pioneering era of Liz Paul who innovated
29:46this groundbreaking use of tape delay
29:49all the way up to the digital
29:51sophistication that you have as a result
29:53of a unit like the Line 6 Helix here
29:55where you can explore the different
29:57delay shapes and guitar tones across
30:00different genres especially modern
30:03Worship in our case the impact of delay
30:06is profound it's going to add depth and
30:07emotion and texture to your music in a
30:11myriad of ways so now it's your turn to
30:13go and experiment discover and create
30:15drop-in equations or experiences in the
30:18comment section below and don't forget
30:19to like And subscribe and also share
30:22this video with some of your fellow
30:24guitar players if you want to see a
30:26breakdown of my main tone and how I set
30:29up my dual delays go ahead and check out
30:32this video right now
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