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Vocal Delay – to be or not to be
I’ve had some really awesome, thoughtful responses on this forum around bass & reverb. Next up – vocal delay 😎
It feels like every mix video I watch of the “pros” uses vocal delays in some way, shape, or form. But I can’t seem to find a spot for it in my mixes that doesn’t feel like it’s pulling the vocal too far down into the mix, and thus competing with the other elements.
I’ve tried long or short, timed or slap, heavily eq’d or just as is…can’t seem to find something that works.
I’m mixing mainly acoustic / americana / bluegrass styles tunes. Today I just dropped the delay all together on a few tracks I’ve been working on and seemed to like where it was helping the vocal sit above the other instruments (just a little chamber reverb as the only vocal effect).
So…to my question…
Would I be a heretic for dropping vocal delay entirely? Is that common?
Or are there some techniques that I’m missing that can help give the benefits of delay (the depth) without it feeling like it’s pulling the vocal too far down into the mix?
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2 Replies
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Drew,
I might be the first to say it but I’d bet anyone who reads your question will wonder what “pulling down the vocal in the mix” sounds like. A before and after would help me hear exactly what your symptom is and what problem might be. How might you be using the delay? As a plugin on a channel? How much time are you using? Enough to create a slap back or little enough to create comb filtering which literally could cause level to drop? Mix percentage of the delay if it is on the channell? Equal level (50%) mix of a dry and delayed signal is the perfect recipe for comb filtering.
Gain staging?? Is the output lower with the delay engaged in line but at 0 time. Does the vocal level actually get louder with the delay plug in out?
So many questions….
Is it your terminology accurate? … Are you saying the actual vocal level goes down or might you mean that, with the delay effect, the vocal recedes back into the music. Instead of in-your-face-leading-the-charge vocals, they’ve moved back into the mix?
I ask if it might be heretical to USE an “Elvis” slap back delay sound in your working genres.
As Waylon Jennings once wrote “I don’t think Hank done this a way.”
Excellent subject line by the way. Reminded me of an old entry in my to-do list of rap lyrics.
“You quote Shakespeare, I quote Dylan.
I like Beastie Boys when they’re illin’ “
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Hey Drew!
What a great question: To be or not to be – be – be – be… 🎤🎶
@-PT raised some great follow-up questions that might shed light on why delay isn’t working for you as expected (thanks, Paul!), and here are some of my own thoughts and suggestions:
1. The “Pro” Advice Conundrum
There are a million “pros” on YouTube these days, and their advice can be all over the place—some great, some… not. I love that you’re watching, learning, and spotting trends, but more importantly, that you’re testing things out for yourself and letting your ear and intuition guide you. That’s what matters.
Keep in mind, these so-called “pros” aren’t mixing your song. They might not even work in your genre. What works in Top 40 pop or R&B doesn’t necessarily translate to an acoustic, folk, or bluegrass mix. Dig?
2. My Approach to Delay & Reverb
Personally, I always have delay and reverb options ready in every mix session—across every genre. That doesn’t mean I’ll use them, but they’re available if I need them.
For a deeper dive, check out my 5-step approach to FX while mixing:
🔗 Dialing in Delay & Reverb—During vs. After Mixing
When mixing vocals, I usually settle into one of four categories:
1️⃣ With reverb
2️⃣ With delay
3️⃣ With both reverb & delay
4️⃣ Bone friggin’ dry!
And guess what? In acoustic genres, #4 is often my favorite.
3. Why I Love a Bone-Dry Vocal
A completely dry vocal can be a powerful choice, especially in acoustic, folk, or bluegrass styles. Here’s why:
🎙 Intimacy – A dry vocal makes you feel like you’re in the same room as the singer, like they’re singing just for you.
💬 Honesty & Vulnerability – Even if the vocal has been comped and tuned (naturally, of course! 😉 See: Natural Vocal Production), leaving it dry makes it feel raw, exposed, and authentic. No fancy reverbs = nothing to hide.
🎭 Contrast – One of the most underrated tools in mixing is contrast. Dry vs. wet, loud vs. soft, clean vs. distorted. A bone-dry vocal at the start makes any reverb or delay you introduce later way more noticeable and exciting. Think of it like an EDM riser before the bass drops—it builds anticipation and impact.
4. The Right Way to Use Delay Without Losing Clarity
If you do want to use delay without muddying your vocal, here are a few key things to try:
✅ Use an Aux Send & Return – Instead of inserting delay directly on the vocal track (which forces you to blend wet/dry signals), route it through an aux send. That way, your dry vocal stays intact while you control the delay separately. Always set the delay plugin to 100% wet when using this method.
✅ Dial it in on Headphones – Mixing in headphones lets you hear the delay in more detail. It also helps you realize you probably don’t need as much as you think! A good sign you’ve nailed it? When someone listens and says, “You should try a quarter-note delay throw on that high vocal line!” And you just smile because it’s already there—subtly working its magic.
✅ Try a Long Pre-Delay on Reverb – If your vocal gets lost in reverb, try adding a long pre-delay (e.g., 250ms). This creates a gap before the reverb tail kicks in, keeping the dry vocal upfront while still giving you that spacious effect. No pre-delay setting? Just insert a simple delay before the reverb.
5. The Verdict? No Delay = No Problem
So, back to your original question—are you a heretic for dropping vocal delay?
Heck no! There’s no “one-size-fits-all” rule in mixing. If your track sounds better without delay, trust your ears. It’s not about what’s “common” or “expected”—it’s about what works.
Hope this helps, Drew! And hope you don’t mind the long (and delayed 😬) response—mixing is an art, and art deserves some deep dives.
mixprotege.com
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