Tips To Make Delays Wider In Logic Pro – Part One
In this post I’ll look into how to make delays wider in Logic Pro. First I’ll work with a mono source, and a Stereo Delay. Later on, I’ll cover stereo sources. I’ll be using Logic Pro’s stock plugins, and branch out a little by using some Brainworx and Waves plugins in part two. Let’s jump right in without delay…
Keeping It Simple: Mono Source, Stereo Delay
In this setup, I’ve inserted a send to a bus that carries a Stereo Delay. Both sides of the delay have the same timing: a quarter note. After choosing the timing, memorize the amount of milliseconds the delays have, disable ‘Beat Sync’, so now the timing of the delays can be adjusted separately. Enter the amount of milliseconds you memorized, and tweak one side just a little. It’s too bad we can’t be more precise here, 20 millisecond steps seem to be the minimum.
Now for some extra flavor, I used phase-inverted crossfeeds a little on both channels. See if you like it. You can always check for mono compatibility by inserting a Gain Plugin temporarily (set to ‘mono’) to see how it holds up. I’ve filtered the delays to send them to the back of the mix a little.
Stereo Delay – Yet More Control
Let’s stick with the Stereo Delay, and put it back on Beat Sync Mode. Your delays are now back to mono again. Insert a Sample Delay right after the Stereo Delay, so you can tweak the timing of both sides, just like in the previous example, but with far better control. You may want to set the Stereo Delay a little early, so you’ll get to tweak both sides precisely in the Sample Delay.
Stereo Delay With Haas Effect
Check the image to see where we’re heading:
Now, bus one shows where we left off in the previous example. As you can see, I’m sending bus one to bus two for a copy. I then flipped the right and left channels, delayed those with the Sample Delay, and filtered them off with a Lowpass Filter. So now each delay has a delayed and filtered copy of itself in the opposite channel: a little Haas Effect.
Spread The Frequencies Please
Look at the image for the next step:
This time I sent all delays to a separate bus, and inserted a Spreader and a Direction Mixer (for final control over stereo width. Don’t set this one too wide!). Basically, the Spreader makes a series of narrow EQ cuts and boosts in each channel separately. Its graph is a good guide of what it does.
Don’t Forget About Chorus
The final tool of the trade, here’s Chorus:
Instead of just putting Chorus on anything to achieve wideness, I decided to save it for last, and use it sparingly. Here I sent the total delay effect to yet another bus, with a light Chorus set to a full Wet Mix. I inserted a High Pass Filter at around 3000Hz, just to get the chorus on the higher frequencies.
This was just an example setup. Do try stuff out yourself by thinking up your own templates. I should stop here, otherwise I would – like a delay – repeat myself. We’ll look at working with stereo sources in part two, so see you there!