A happy medium amount of feedback should be dialed in according to personal preference, but should be set high enough that one does not notice the repetitions ending too early on, while low enough so that the delay doesn’t overwhelm itself in a feedback loop. The delay time for ambient delays is often a bit on the longer side, and usually does not have any sort of set relationship with the tempo of what is being played. Ambient delayĪ good ambient delay sound adds dimension to music without distracting from what is being played. demonstrates modern rockabilly guitar playing in the style of Paul Pigat. The mix for a good slapback delay can be set fairly high, at or very close to the level of your dry signal. Your feedback should be turned all the way down, so that you're only getting one, maybe two repeats. For this sound, you want a very fast set delay (100–140ms is pretty typical), ideally set to a time that's faster than your eighth note pulse to keep it out of the way of what you’re playing. The slapback sound is a fairly classic application of delay, particularly within blues, country, and rockabilly styles of playing.
Here are a few different ways you can utilize delay: Slapback delay Delay time determines how long until the next repetition of delay happens, feedback determines how many repetitions happen until the effect dies down, and mix determines how loud the effect is in comparison to your dry signal. Delay units typically include time, feedback, and mix settings in some form. Delayĭelay is a spacial effect that echoes what you play based on what settings you have dialed in. Because delay and reverb are such crucial components in both live and recorded sound, it's important to have a decent understanding of what they are and how they work. These effects work together to give your sound body and context amongst the rest of the music that's happening. They're so important, in fact, that they were some of the first effects to be digitally created and can be found today in almost any musical situation. Delay and reverb are often regarded as some of the most important effects for a guitarist both onstage and in the studio.
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