Additionally it meant that the mixing engineers could now send delay into reverb, or reverb into a flanger and then into the delay. What Lee Perry (and others) did was to route the effect output of the Delay unit into a normal track channel, thus allowing the effected Delay returns to be EQed and even sent back to themselves using the effect sends, delay-eq-delay-eq-delay-eq-…. The return channel could not send to other effects. This return channel was a very simple channel with no EQ, or any other features common to the rest of the mixing board tracks. Traditionally the way to incorporate effects returns on an analogue mixing board would be to have a send dial on each track (such as Drums), the effect send dial would send a percentage of the track signal out to the delay device, the effected signal would return back into the mixing board onto a dedicated return channel. Often the effect device used was a very simple type of analog echo device known as a bucket brigade delay, however the notable sonic features which made the distinctive dub sound was NOT inherent in the delay device itself but in the way it was routed. In the recordings of Lee “scratch” Perry, King Tubby, and others, there is a very recognisable echo sound which has come to be recognised as the “Dub Delay”. In later tutorials I will cover feedback matrices and automation, intermodulation and other more advanced topics.Ī “Dub Delay” A short history and explanation I’ll explain some pitfalls to avoid which we should bear in mind as our experiments become more complex. The tutorial also shows you the basics which can be used in all of these cases, this involves activating feedback in Ableton Live’s effect return channels and showing you how to progressively reshape the sound produced until you have a unique effect. In this first tutorial I will focus creating the Dub Delay and a little bit of regenerative Looping. Here are three audio examples of the sound of feedback The types of outcomes you can create with feedback range from Dub style delays, to no-mixer synthesis, to looping evolving ambient soundscapes. If you are the type who learns by dismantling a working example, then there is a downloadable example file at the end of this tutorial. Exploring feedback techniques can bring a complexity and uniqueness of sound to your tone palette, it is a sound with internal coherence so it might appear more “natural” than other types of synthesis or effect. This tutorial is the first in a series covering feedback in synthesis and production, and how it can be a fun way to create new and interesting sounds with a seeming life of their own.
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