Strict Standards: Non-static method BP_Options::get() should not be called statically in /home/actidemann/ on line 9

Strict Standards: Non-static method BP_Options::get() should not be called statically in /home/actidemann/ on line 26

Strict Standards: Non-static method BP_Options::get() should not be called statically in /home/actidemann/ on line 9

Strict Standards: Non-static method BP_Options::prefix() should not be called statically in /home/actidemann/ on line 49

Strict Standards: Non-static method BP_Options::get() should not be called statically in /home/actidemann/ on line 9
<br/> <b>Strict Standards</b>: Non-static method BP_Options::get() should not be called statically in <b>/home/actidemann/</b> on line <b>9</b><br/> Delay « The Kurt Rosenwinkel Forum


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  1. nateroberts

    Hey guys,

    I'm working on getting a better delay sound and I find this really attractive:

    [+] Embed the video | Video DownloadGet the Video Player

    I use an Eventide Timefactor delay, and I know it can do a lot but I'm pretty unknowledgable when it comes to effects. I tend to get a sound that restates the initial attack, and I have a hard time getting it to sound swelly like Tim Miller does up there. I don't want to hear the attack again, I just want to hear a swelling delay that doesn't overwhelm the initial attacks of everything else I'm playing. Mike Moreno's delay sound (and of course Kurt's) are also really desirable.

    Any tips? Thanks in advance!

  2. jorgemg1984

    Feedback up. fx level down :) Eventually delay time up... I can get that sound with a simple delay like the flashback. At gigs I use the fx level higher than at home of course.

  3. Poparad

    Ditto that. Also, if you have a delay unit that can do "analog delay," the repeats are often darker with less attack, so that helps. But mostly turn the effect volume down and balance that out with more feedback and/or shorter delay time, as Jorge said. I almost feel like there's too much delay in that Tim Miller video, though the recording quality of the camera may have some coloration to the resulting sound. I have a hard time hearing what he's playing at some times due to the delay.

  4. jorgemg1984

    I agree, Tim Miller uses too much delay. It's tough actually... sometimes it seems it's too subtle and suddenly it seems it's too present. Kurt seems to be using less recently,

    Poparad tape delay works even better than analog for that in my experience - it's much less present than digital delay but it degrades in a more natural way than analog.

  5. nateroberts

    Thanks guys. That's very helpful. The Timefactor has so many functions that sometimes it's a bit overwhelming. But I think I can mess around and hopefully get the results I'm looking for.

    I agree that Tim Miller's sound is a bit muddy (especially there), but I wanted to send a video that made it really obvious what sound I'm referring to. I wonder if his occasional lack of clarity is due to his right hand technique a bit too. He's a brilliant player but he doesn't get much volume out of the strings, that's for sure. The hybrid picking stuff he does is really cool but given the same passages to play myself, I would probably just use alternate picking through most of it.

    How short exactly would you suggest using for the delay time?

    The Timefactor has has a ducked delay effect, which is cool for making sure that lines cut through the delay feedback. The problem is that I think that is using the digital delay effect, and there is no ducked analog delay option. I think?

    Thanks again guys.

  6. Poparad

    I set mine to 300-400ms, and I adjust the feedback accordingly.

    Yes, Jorge, tape is awesome! Not every delay unit does that, unfortunately. I use a GR-55 for most effects, and that's what I set it to. I also use a modulated delay set to a longer delay time with more feedback to create thick chord pads by swelling my volume pedal. One of my favorite tricks!

  7. jorgemg1984

    Yeah a volume pedal or an expression pedal can be great to long swells!

    I agree with Poparad, around 400ms seems like a good delay time. When I had a Nova System I knew exactly what value I used, now with the Flashback I have to use my ears :)

    Some delays like the Eventide / Empress / Strymon seem excellent but over-complicated to me... I can do anything I want with a simple TC Flashback - delay mode, level, feedback and time is all I need actually. I once had a DL-8 that was good too and some Boss DD series that were all terrible without a darkening mod, otherwise pretty bright and tone-changing. I have always found TC delays simple and perfect for giving some air to the sound - Nova Delay, Nova Repeater or Flashback.

  8. smoke

    Moreno uses a Boss DD3 live and will make a few adjustments as needed to the level and delay time. Most of the time it is set in one position.

    I think the reverb sound/mix also has a lot to do with the sound of all of these guys. Tim, Kurt, and Mike all have great reverb sounds.

  9. Matt

    Just wanted to correct that i saw Moreno with Matt Brewer at the jazz gallery thursday and he had a strymon el capistan with a strymon bluesky

  10. smoke

    Not so much a correction as an update, perhaps? He most definitely had a Boss DD3 when I saw him last year, and some kind of small reverb rack unit thing, perhaps a Lexicon. I sat quite literally 2 feet from his pedal board.

    Seems like I have also seen him with a Line 6 DL4 in some pictures.

    I guess the moral of the story is that brand doesn't matter as much as how you set and use it.


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