That's some serious distortion from the Revv. :)🎸 I needed this video to realize that a great delay can happen within a lead break without the repeats tripping over the lead notes. That is all-important to me. I believe with its MIDI capability that this particular type of setting can be called up with the press of a lead boost button on the controller. Just thinking...
I keep thinking your going to go into ‘talkin bout love’. 😂 as always good info. I always go the Paul Gilbert route and just barely have a delay just for a little ambience.
I learned from someone long ago to use one darker repeat, modulated, and then control with the mix knob. With one repeat, it never gets in the way, the modulation gives it width and a darker tone separates it from the original signal. For me, this works well.
Great stuff, Shawn. It would be awesome to hear you dial your delays in the context of a track to see how you mix the tone, level and repeats when tracking different guitar parts.
Good tips. I have been having trouble with my Carbon Copy delay being a bit overwhelming when I have any overdrive pedals on. At this time I have delay, chorus reverb at the end of the line in my pedal arrangement. Pedal board to the input of the D20. I haven't tried running the delay, chorus, reverb through the effects loop yet. But I will mess with tweaking the repeat vs mix like your demo to help that out. Only issue is I also adjust delay for clean tones to taste and my delay stays set while I am playing live. With decent level of overdrive it really swells up. Thanks for the tips.
The Carbon Copy is a great delay but it can take up some space. Maybe try the mix verses repeats for sure. As far as clean tones go, it's really hard to get one delay to be at the right level because the tendency is to run the delay mix hotter for spacious cleans but when you stab an overdrive on the delays take off on you. You almost have to have two delays or maybe a DL4, Strymon or another programmable delay with presets.
As always, terrific insights, Shawn! I set up a Strymon Deco to achieve a similar effect with the slapback. I’ve had fairly decent luck stacking delays with it as well (currently a Strymon El Cap, but I use a few others). I’ve been doing the bulk of the dialing/tweaking using my ear alone, but do you have any advice on how best to stack delays?
Well, you're gonna love my next video!!! Bb#11 add 9 over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and red rover. 😅
The MXR Echoplex pedal is a great delay for in front of amps and these principles can apply to anything - just keep in mind here Shawn is saying he specifically prefers digital-voice delays.
To my ear, digital delays can render an exact copy of the original note, if you don't alter the delay tone. Meaning that no highs or lows lows are rolled off with digital as with tape delays is what Shawn was referring too. That's how I took it.
Heard that little bit of EVH there ("Runnin'.."). I know he's still on my mind!
Yeah me too! Thanks for watching!
Man that Les Paul sounds SO GOOD!! And the playing.
And the delay.
Thank you so much, very interesting! Greetings. Mordi 🌸🌸🌸
Thanks, Mordi!
Thanks for the tip on running delay! Now I need to check my settings.
Thanks so much for watching!
That's some serious distortion from the Revv. :)🎸
I needed this video to realize that a great delay can happen within a lead break without the repeats tripping over the lead notes. That is all-important to me.
I believe with its MIDI capability that this particular type of setting can be called up with the press of a lead boost button on the controller. Just thinking...
Great to hear your perspective, Shawn!
Thanks, John!
Straight forward and directly applicable knowledge and ideas 👍🏻
I keep thinking your going to go into ‘talkin bout love’. 😂 as always good info. I always go the Paul Gilbert route and just barely have a delay just for a little ambience.
Yeah, it's funny, I didn't realize I had done that until I started editing. Thanks for watching!
I learned from someone long ago to use one darker repeat, modulated, and then control with the mix knob. With one repeat, it never gets in the way, the modulation gives it width and a darker tone separates it from the original signal. For me, this works well.
That makes sense!
Literally every video with that Les Paul is phenomenal. What have you done to it? What secret sauce did you use to get that sound?
Again I learned a lot.Thanks for sharing this.
Thanks for watching!
Great stuff, Shawn. It would be awesome to hear you dial your delays in the context of a track to see how you mix the tone, level and repeats when tracking different guitar parts.
Thanks! I did a video that touches on that on my channel. th-cam.com/video/CRPsGscLWFI/w-d-xo.html
Good tips. I have been having trouble with my Carbon Copy delay being a bit overwhelming when I have any overdrive pedals on. At this time I have delay, chorus reverb at the end of the line in my pedal arrangement. Pedal board to the input of the D20. I haven't tried running the delay, chorus, reverb through the effects loop yet. But I will mess with tweaking the repeat vs mix like your demo to help that out. Only issue is I also adjust delay for clean tones to taste and my delay stays set while I am playing live. With decent level of overdrive it really swells up. Thanks for the tips.
The Carbon Copy is a great delay but it can take up some space. Maybe try the mix verses repeats for sure. As far as clean tones go, it's really hard to get one delay to be at the right level because the tendency is to run the delay mix hotter for spacious cleans but when you stab an overdrive on the delays take off on you. You almost have to have two delays or maybe a DL4, Strymon or another programmable delay with presets.
@@ShawnTubbs Thanks Shawn for the advice. A second delay dedicated to overdrive would be a great solution. More cost effective for now too.
3 repeats, about 345ms or so ping ponging back and forth thru the WDW wideidity 🤘🏽
Nice!
As always, terrific insights, Shawn! I set up a Strymon Deco to achieve a similar effect with the slapback. I’ve had fairly decent luck stacking delays with it as well (currently a Strymon El Cap, but I use a few others). I’ve been doing the bulk of the dialing/tweaking using my ear alone, but do you have any advice on how best to stack delays?
I have both these pedals on my board I was trying to get a preset just like this the other day
Love your videos brother
But I will be hearing that A chord in my head for the next 5 days
Well, you're gonna love my next video!!! Bb#11 add 9 over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and red rover. 😅
@@ShawnTubbs 😆💓
You’re getting such a great “reverb” sound via your delay! Do you keep it on all the time? Do you use reverb on top of this type of delay setting?
Nice sound but your delay is a bit expensive is the mxr echoplex would do the same thing in front ?
The MXR Echoplex pedal is a great delay for in front of amps and these principles can apply to anything - just keep in mind here Shawn is saying he specifically prefers digital-voice delays.
thanks
The MXR Echoplex sounds great!
He said digital delays have more low end? True???
To my ear, digital delays can render an exact copy of the original note, if you don't alter the delay tone.
Meaning that no highs or lows lows are rolled off with digital as with tape delays is what Shawn was referring too. That's how I took it.