Applying ghost-like delay throws adds a level of intimacy to the vocal take that is both pleasing and musical and it doesn’t end there – we can use delay effects to add motion to a sound giving the listener the illusion that the vocal take is moving along the timeline all on its own. Manipulating either channel of the stereo delay effect allows for some serious stereo widening possibilities and is just one of the many textures we can create just by using a well-specified delay effect processor. The creative possibilities of using stereo delays on vocal takes are endless. Additionally, we can add some interest to a staid vocal line just by applying short delay values to the end of sentences or words which result in the perception of extended note lengths and ghostly repetitions. By using these BPM synced timing subdivisions we can give the vocal a rhythmic effect that makes the vocals sit nicely in a tempo driven track. A simple yet common example of a delay throw is when using a delay that is triggered to a synced timing subdivision of 1/4 or 1/8 note after a specific word or words of a vocal recording.

The usual approach is to use the automation lane in the DAW to trigger the delay and by a specified value (either time based or BPM synced). Not only do producers use stereo delays for adding width to a sound but the more common use is for adding delay ‘throws’ to vocal lines within a mix context.īut first, we need to understand how a delay effect processor works and for this reason alone I have created a FREE dedicated video tutorial showing you how to use a delay effect:ĭelay Effect – what is it and how does it workĪ delay throw is a triggered delay at a specific part in a song and usually on a vocal source. Stereo delay effect processors are truly dynamic when it comes to treating the human voice.

Using stereo delays on vocals is not just about creating super wide vocals but about adding motion and colour to lead and backing vocals.

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