Beyond Basic Effects: Compressed Delays and Reverbs
Ever noticed effects turning a mix into a mess? Try compressing your returns! But here's the thing: it's not just about control - it's about carving out intentional space in your mix. 🎚️ Our playlist shows how Stuart White, Catherine Marks, and Jordan Rakei use compression on effects returns to keep things clear while still adding vibe and movement. Whether it’s trippy delays to swelling reverbs, these ideas will help you shape more deliberate, dynamic spaces!

SonicScoop
Crafting psychedelic vocals with layered effects
Stuart White delves into crafting psychedelic vocals by layering and interweaving multiple effects. He combines a short delay for texture, a stereo flanger for width, and a long, psychedelic delay to create a rich, ethereal sound. By routing the long delay into a spring reverb and the widener, Stuart enhances the psychedelic atmosphere and expands the soundstage. To maintain clarity and prevent the effects from overwhelming the dry vocal, Stuart heavily compresses the effects returns, ensuring they remain controlled within the mix. This approach allows the effects to be prominent without overshadowing the vocal's presence. Additionally, he employs sidechain compression on the long delay, ducking it with the dry vocal to preserve intelligibility and keep the vocal at the forefront.

Mix with the Masters
Sidechain reverb swells for dramatic vocal depth
Catherine Marks demonstrates her 'Swell Reverb' effect on vocals using Valhalla VintageVerb and Avid BF-76 for sidechain compression. By applying a long decay reverb and typically keying it off the snare, kick, or a click track, Marks creates a dynamic swelling effect that adds dramatic depth and interest to the vocal track. Even with the return level kept low and subtle, this technique effectively enhances the vocal dimension without clouding the mix. Initially used with subtlety, it became more pronounced in Manchester Orchestra's album 'Million Masks of God', where vocal reverbs prominently swell and pump in the background, enriching the overall sonic landscape.

DJ Mag
Creating vocal pads from chopped harmonies
Jordan Rakei demonstrates how to transform chopped vocal harmonies into lush vocal pads using a combination of sound design and signal processing techniques. He begins by singing and chopping different harmonies, then layers and loops them to create a textured pad. To enhance the pad's texture, Rakei applies delay and reverb, rolling off the low frequencies to prevent muddiness and ensure clarity alongside the main instruments like the Rhodes. He uses a digital delay for an old-school vibe and adds reverb to create a lush, expansive sound. Finally, Rakei employs sidechain compression, subtly ducking the pad with the kick drum to carve out space in the mix. This technique ensures the vocal pad integrates smoothly, adding depth and texture without overwhelming the track.