DDLY Dynamic Delay can be used to create increasing rhythmic variations on a stereo drum loop. Both acoustic and electric drums make excellent fodder for DDLY, thanks to the adjustable Dynamic Threshold. Transients passing above the Dynamic Threshold are routed to the Top Delay, while the underlying non-transient audio is routed to the Bottom Delay.
This means that you can add delay to the harder attacks of the kick and snare that exceed the Dynamic Threshold. You’ll get that cool, echo effect without also adding delay to the extra buzz from the snares or the room noise or a low transient, sloppy high hat that would make the mix sound muddy or crowded.
Or dial in different delay patterns for the transients versus the more constant energy of the overall performance, to keep the foundation in place and let the accents bloom and soar. With DDLY Dynamic Delay, you can easily move from common rhythmic delay patterns to exploring some advanced granular delay effects.
Listen to DDLY Dynamic Delay in action on drums:
Start with the Top Delay in A mode.
Host Sync the Time parameter to a fast value, or set it to a low value in ms, such as 80 ms.
Increase the Wet parameter to bring in the delays.
Lower the Dynamic Threshold to route more transients to the top delay.
Increase Intensity to apply dynamics processing, which will result in more audio being routed to the top delay.
Especially if in Host Sync mode, changing the tempo subdivisions of the delays can create interesting new rhythmic transient textures on say a verse and a chorus.
Start with the Top Delay in G mode.
Use a small Grain Size, and a Mix value of approximately 30%.
Keeping the Time parameter between 15 to 180 ms, start to increase both the Feed and Mix parameters, to start repeating grains.
Drop the Dynamic Threshold until you start to hear enough transient material hitting the delay.
Now, experiment with the effects you get from either adjusting the pitch of the repeating grains, or the overall size of a grain (how much audio that grain ‘samples’). This is where the real sound design potential kicks in.
Try these settings on either the Top or Bottom Delay, while playing with the Dynamic Threshold and you’ll notice you get different sounding results processing transients versus the underlying audio.