Delay Pedal: When to use?
Moderator: Dave Mudgett
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Delay Pedal: When to use?
I need some edumacation re the delay pedal. Is this something that's used intermittently or is it left on throughout a song? Thanks for any help!
- Jim Sliff
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Some use it to get the sound of an echo off a back wall...it adds a spaciousness to their sound. Others use low-level repeats with a short delay in place of reverb; it can, if used well, have a more natural sound than spring (and especially digital) reverb. Then there is the use where you set the delay for a single repeat at roughly 300ms (it really has to be set to the specific song meter) and practice playing so that your timing makes it sound like you're playing twice as many notes as you actually are' it's a technique Les Paul used in the 50's and Albert Lee used on Tele starting in the 70's.
The "double-speed" use is pretty much a one-song gimmick; fun, but can get annoying. The other uses can be sued for specific songs or all the time; I use the short delay/low level/medium repeat method instead of reverb almost all the time, and at a VERY low level (I dislike overuse of reverb or delay - reverb especially just turns the sound to mush except for single-note playing).
The "double-speed" use is pretty much a one-song gimmick; fun, but can get annoying. The other uses can be sued for specific songs or all the time; I use the short delay/low level/medium repeat method instead of reverb almost all the time, and at a VERY low level (I dislike overuse of reverb or delay - reverb especially just turns the sound to mush except for single-note playing).
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional
- Darvin Willhoite
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I use delay almost all the time, low level, with a couple of repeats, to thicken my sound a little. I use the tap function to match the repeats to the tempo. The only time I ever really hear the repeat, is if I stop the note, then I can hear a subtle repeat. I always use reverb also.
Darvin Willhoite
MSA Millennium, Legend, and Studio Pro, Reese's restored Universal Direction guitar, a restored MSA Classic SS, several amps, new and old, and a Kemper Powerhead that I am really liking. Also a Zum D10, a Mullen RP, and a restored Rose S10, named the "Blue Bird". Also, I have acquired and restored the plexiglass D10 MSA Classic that was built as a demo in the early '70s. I also have a '74 lacquer P/P, with wood necks, and a showroom condition Sho-Bud Super Pro.
MSA Millennium, Legend, and Studio Pro, Reese's restored Universal Direction guitar, a restored MSA Classic SS, several amps, new and old, and a Kemper Powerhead that I am really liking. Also a Zum D10, a Mullen RP, and a restored Rose S10, named the "Blue Bird". Also, I have acquired and restored the plexiglass D10 MSA Classic that was built as a demo in the early '70s. I also have a '74 lacquer P/P, with wood necks, and a showroom condition Sho-Bud Super Pro.
- Erv Niehaus
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- Loren Claypool
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Another approach is to use delay, or delays, to create an altogether different sonic experience. On my most recent project I used a combination of delays, and at times envelope filters, loopers, and "reversing" devices, to create pads. Most folks who hear what I've done assume I've used synths to get the sound, but it's all lap steel. It's another way to to extend the use of the instrument. Warning: this is strangely addictive territory!
Loren Claypool
genre-indifferent instrumental guitar music
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- Tony Palmer
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- Joined: 4 Aug 1998 11:00 pm
- Location: St Augustine,FL
Ditto for me..I leave it on usually all night on a low mix.
It's too muh trouble to dial in a different seting for each song...BUT I will adjust the intensity in and out acordingly...that's not too hard to do.
It's too muh trouble to dial in a different seting for each song...BUT I will adjust the intensity in and out acordingly...that's not too hard to do.
Sierra S10 (three!), Peavey 112 and 115, Benoit dobro, Beard Model E dobro, Beard Roadophonic, MSA Superslide, Dean Nickless custom dobro