ProGuitarShop

How To Set Your Delay

August 31, 2013

By Daniel Brooks

Few effects, if any, have the power to transform your guitar’s sound, and the way you play it, as completely as a good delay. Most pedals color your guitar’s signal to enhance its tone, to add a little texture, or even give it a new voice. Delay lets you play with time itself. It copies each note you play and repeats it back to you. Whether you use an old tape echo or some other magnetic delay, an all analog bucket brigade device or a digital delay, each gives you the controls to set the amount of time between repeats, the number of repeats, and their volume relative to the original signal. Depending on your settings, even the most basic delay can be used to create at least half a dozen different, otherwise impossible effects. It is such a versatile tool, the inspired guitarist willing to take the next leap into the creative unknown might find an even more innovative use. I look forward to hearing it, or maybe even discovering it. For now, there is quite a bit that we do know about using your delay.

 

Setting the Tempo

 

Before we get started, there are a few practical issues worth noting. Except for some rack mounted effects and a few high-end pedals, most delays do not have any indicator to display your exact delay time. It is a cost prohibitive feature that would raise the price of an otherwise affordable effect. Delay-loving guitarists find it such an engaging and rewarding effect that they quickly develop a feel for the Time control, and many pedals now have a Tap Tempo feature that lets you set your time with a few rhythmic taps on a footswitch. There is also no indicator for feedback, or the number of repeats your delay will give you. This is a much more fluid and intuitive setting, however, and you would probably find it unnecessary far too quickly to make it worth adding to any pedal. Finally, delay tends to draw more power than most effects and can drain a new battery before you’re finished with your first set. It is always a good idea to use a power supply or a 9vDC converter to keep your delay running all night.

Now, let’s look at all that we do know about using your delay.

 

Double Echo

 

The shortest delay times can create the impression of multiple guitars for a more fortified sound. Adjust your feedback control all the way counterclockwise for a single repeat, your effects level control for unison (the same volume as the unaffected signal) and set your delay time for 20 to 50 milliseconds. Since sound travels, on average, just a little over one foot per millisecond, a repeat time this short will imitate the effect of having another guitar in the same room playing in perfect unison. At these rates, and given the frequencies of most notes on a guitar, you not only get a doubling effect, but some naturally occurring phase and chorus effects. This is a result of the delayed signal beginning within a few vibrations of your original signal, creating interference patterns between your string’s vibration and the delayed effect. Try it, and decide for yourself whether it’s interesting or just freaky. If it’s not to your liking, adjust the delay time up to 50 to 80 milliseconds to lessen the initial phase effect and still get a repeat that happens quickly enough to reinforce your sound without sounding like an echo.

 

Slapback

 

On the other hand, sometimes that quick echo is just the perfect effect. Slapback echo recreates the organic delay between the record and playback heads on the old tape recorders. It was discovered, loved and used to give that distinctive sound to countless country and rockabilly records. Keep your feedback at minimum for a single repeat, drop your delay’s volume to about half, and set your time for 80-140 milliseconds. You’ll notice a slight separation between the guitar’s sound and the delayed repeat, just enough to give it that warm, intimate bounce.

 

Simulated Reverb

 

You can use your delay for reverb. For years, I played through an old, 50 watt Marshall head. The sound was glorious, especially in big rooms, but with no on-board reverb, it was as dry as a bone in our rehearsal space. To soften up the sound a bit, and give it added dimension, I learned how to use my old Boss DD-3 digital delay as a reverb pedal. I still prefer it over the spring reverb that came standard in the “new” amp I bought more than 20 years ago. To get this effect, set your feedback level for 3 to 5 repeats, your effect level to about half, and your delay time between 100-200 milliseconds. You can certainly use any delay and at a higher delay time, as much as 500 milliseconds. David Gilmour used his Binson Echorec to this purpose on “Time” and created an iconic sound in the process.

 

Dotted Eighth

 

One of my favorite uses for a delay is the creation of complex, interwoven arpeggios using repeats timed a dotted eight note behind the guitar’s signal. Think of the bass figure on Pink Floyd’s “One Of These Days,” The Edge’s brilliant guitar on U2’s “Bad” or “Where The Streets Have No Name,” or Van Halen’s “Cathedral.” Obviously, there are as many settings for this effect as there are songs and guitarists who use it. I’ve found that it sounds best for the way I play when I set the level control to unity and the feedback to a repeat or two, or three. Because the repeats have to ring out in time with what you play for the effect to work at all, musically speaking, both the delay time and your timing are critical. Set the delay to the tempo of the song, and stick to that tempo. Let your drummer play to you. If your delay has a tap tempo feature, you can work with a more flexible rhythm section, but you have to be mindful and ready to adjust to those little variations. I have found that this use of my delay pedal is both beneficial and deleterious to my sense of time. Playing two, three, and four note repeating patterns interwoven with dotted eighth note repeats will develop your sense of timing to perfection, but it is such an intoxicating effect that it is too easy to lose all track of time.

 

Space is the New Frontier

 

One distinctive feature found only in all-analog, bucket brigade delays is self-oscillation, that almost cacophonous noise you can control for some truly spacey, science fiction sound effects. Jimi Hendrix used it on “1983 (A Merman I Should Turn to Be),” and more recently, Radiohead used it for great dramatic effect to end “Karma Police.” If you have an analog delay, set the feedback control all the way clockwise for “infinite” repeats to create a feedback loop. Cycle the delay control to the longest time possible then the shortest and back again. Cool, isn’t it? I would buy a pedal that did only that and nothing else.

Finally, consider your delay’s place in your signal chain. Because it softens your guitar’s attack by spreading it out over time, a delayed signal will lose clarity as it gets processed through fuzz and overdrive pedals, so put your dirt boxes before your delay. I’ve found that delay and reverb sound best when they are the last effects in the signal train. For the same reason, if your amp has an effects loop, you might find it’s a good idea to make it the permanent home of your delay and your reverb, before your power tubes launch your sound out into the room. Of course, you are free to experiment, let me know how it sounds!

As a bonus, here is a classic Pink Floyd tune to practice. (As with all Riff of the Day videos, it includes the effect settings used to record the clip.)

Comments

  1. gillyzoom says:

    One thing that every delay discussion misses is setting a delay in time to match your tremolo pulses this sounds huge and if you have a stereo out delay even bigger.You just need to practice your timing I use this too great effect my 2 piece band drums/guitar to play New Orders Blue Monday most people come up to me at the end of the show and say how full the song sounds without a single synth in sight…........

    posted on August 31, 2013 at 12:04 pm
  2. Kevin78 says:

    I love delays, but it’s a pain in the neck to make them sound right if you decide to stick with a single channel vintage amps like vox AC30s or old plexis unless you use multiple amps or use the effect from the PA mixer, a very cumbersome solution anyway

    posted on August 31, 2013 at 12:43 pm
  3. Matt Moorman says:

    I’ve been liking an lightly used overdrive like the BB Preamp, after the delay. Filthy compression of the wet and dry.

    posted on September 1, 2013 at 1:41 am
  4. Abbacus says:

    The TC Electronics Alter Ego has just about every delay type you might ever need, and even has a dotted 8th setting via a 3-way toggle switch. I love the thing, but, as with all delay pedals, getting the timing spot on, on the fly, for different songs when playing live can be a bit difficult. Your band really has to lock into you to make it all work so taking the time to explain the issue and work it out with the drummer and bass player to do so is well worth it.

    posted on September 1, 2013 at 2:13 am
  5. guitarscar says:

    love this keep these emails comming

    posted on September 1, 2013 at 7:26 am
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  7. Bowdre says:

    Awesome stuff - please keep it coming. Pretty smart, too. I already own a butterscotch tele and an MXR Carbon Copy, but….yea - my GAS and this gear showcasing is making me want that ‘52 LTD tele.  I’d hurt for that DDRi too if i didn’t already have one.  Nice marketing - you guys know what you’re doing!

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  8. Mike G says:

    Another major enhancement would be to give the ranges in milliseconds as opposed to showing a generic knob setting. Over the years, I have compiled a log of favorite delay time settings in milliseconds and it saves a lot of trial and error, especially if it is studio time.

    posted on September 6, 2013 at 2:27 am
  9. Joshj says:

    Great article. Im a huge gilmour fan, hes the reason i started guitar, so im very intersted in delay. Since im fairly new to guitar this was a huge help and full of new info. On a different note, what the hell is luibei talking about???? I mean i get that he/she is tryin to advertise the handbag site, but why would he think that a bunch of guitar addicts would give two shits about some LV handbags, or his quest to learn proper english(wich from the looks of the post, isnt going very well). It really makes me mad when people try to hijack comment sections to try and advertise random ass shit.

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  11. Griffin Phelps says:

    delay has seriously been one of the biggest building blocks for my rig. if you are a guitarist like myself who finds yourself playing in multiple styles of bands, its important to have a few solid delay pedals that can really make you stand out. Deltalab digital delay, rocktron cyborg delay and boss DD 7 are some of the best tools in my arsenal. the deltalab is great for my leads as it strays from being very digital sounding for its price and options. rocktron cyborg is awesome for having multiple presets and a pretty sweet sounding reverse (plus the built in HUSH helps keep things quiet) and the DD7 is my main delay for all my crazy sounds. the built in looper makes things interesting when I am doing my looping act, primarily using the Boss RC20xl, to add another level of controlled looping.

    if I had to be left with as few pedals as possible on my board (23 pedals in total), I would have to have a decent overdrive and a delay.

    posted on September 7, 2013 at 6:32 am
  12. Jorge says:

    So my Carbon Copy’s dials have different names than the ones above….can you translate the above for “Carbon Copy” dials? :-)

    posted on September 9, 2013 at 2:08 pm
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