Delay for Live Sound: Rhythmic Enhancement and Depth

Delay for live sound adds rhythmic interest and depth to performances. Unlike reverb’s diffuse ambience, delay produces distinct repeats that interact with musical timing. Thoughtful delay application enhances vocals and instruments; excessive delay creates cluttered confusion.

Understanding Delay Parameters

Delay time sets the interval between original signal and its repeat. Times range from milliseconds to seconds. Musical applications often sync delay time to tempo.

Feedback controls how many times the delay repeats. Zero feedback produces single repeat; higher feedback creates multiple repeating echoes. Excessive feedback creates infinite repeats that build uncontrollably.

Mix or blend determines the ratio of dry to delayed signal. Lower mix settings provide subtle enhancement; higher settings make the delay more prominent.

High cut and low cut filters shape the character of repeats. Darker delays with high cut sit behind the source; brighter delays compete more directly.

Tempo-Synchronized Delay

Calculating delay time from BPM (beats per minute) aligns repeats with musical timing. Quarter note delay at 120 BPM equals 500 milliseconds; eighth note equals 250 ms.

The formula: 60,000 ÷ BPM = quarter note delay in milliseconds. Divide by 2 for eighth notes, by 4 for sixteenth notes.

Dotted and triplet delays create syncopated rhythmic patterns. Dotted eighth delay (three-quarters of a quarter note) produces the classic U2 guitar sound.

Tap tempo features on delay units allow real-time tempo matching. Tapping the tempo button in time with the music sets appropriate delay time.

Slap-Back Delay

Slap-back delay uses short delay times (80-150 ms) with single repeat and no feedback. This classic vocal effect adds presence and thickness without obvious delay character.

The effect sounds like a very short room reflection rather than a distinct echo. It works well on vocals, guitar, and other lead elements.

Slap-back suits rockabilly, country, and vintage rock styles particularly well. Modern applications use it subtly for presence enhancement.

Vocal Delay Techniques

Vocal delay adds dimension and fills spaces in the arrangement. Rhythmic delays can fill gaps between phrases without obscuring lyrics during singing.

Throw delays—momentary increases in delay send—emphasize specific words or phrases. Engineers ride the delay send to feature particular moments.

Ducking delays reduce in level when the dry signal is present, becoming audible only during pauses. This prevents delay from competing with active vocal delivery.

Stereo delay with different left and right times creates width. Setting slightly different times (e.g., 350 ms left, 380 ms right) produces spacious stereo imaging.

Instrument Applications

Electric guitar with delay creates atmospheric textures. The interaction between playing and delay becomes part of the performance.

Snare delay (very short slap-back) can add crack and presence. Settings around 40-80 ms enhance snare attack without obvious delay.

Keyboard pads with delay add movement and depth. Longer delay times with moderate feedback create evolving textures.

Feedback Management

Low feedback (1-3 repeats) provides enhancement without clutter. The delay adds interest then fades, allowing the next phrase to sound clearly.

Higher feedback (4-6 repeats) creates more obvious rhythmic patterns. These settings suit songs where delay is a featured element.

Excessive feedback creates runaway delay that builds rather than fades. Be prepared to cut the delay send if feedback creates problems.

Delay vs Reverb

Delay provides rhythmic enhancement; reverb provides spatial ambience. They serve different purposes and can be used together or separately.

Delay before reverb creates delays that have reverb tails. This combination sounds natural and complex.

Reverb before delay creates washed-out delay repeats. This ordering is less common but serves specific creative purposes.

Choosing between delay and reverb depends on the desired effect. Rhythmic music often benefits more from delay; ambient music may favor reverb.

Send Configuration

Route delay through aux sends for parallel processing. The dry signal passes unchanged; processed delay blends according to send level.

Post-fader sends track with channel level. When the vocal drops in the mix, the delay send drops proportionally.

Multiple delay effects allow different settings for different sources. A short slap for vocals, a longer rhythmic delay for guitar—each with independent control.

Live Adjustment

Delay time may need adjustment between songs with different tempos. Digital mixers can store per-song presets; analog setups require manual changes.

Feedback adjustment during songs can create builds and dynamic effects. Increasing feedback into a song climax creates dramatic delay swells.

Kill switches or mutes prevent delay trails from carrying into silence between songs. Clean transitions maintain professional presentation.

Common Problems

Delay time not matching tempo creates rhythmic confusion. Repeats that fall off the beat distract rather than enhance.

Too much delay creates clutter that obscures the dry signal. When delay becomes more prominent than the source, pull it back.

Delay feedback running away requires immediate attention. The mute button or send cut prevents runaway delay from dominating the mix.