Originally Posted by bmsander
"Does this mean my delays should be longer than 35ms for this technique to work, or should they be under 35ms to add depth but not be "noticed?"
The "magic number" is 19ms, not 35ms which is audible as a delay [it's kinda like a short slap echo where stuff under 19ms turns into like a phase event... modulate the time on it and you have a "phase shifter" [a.k.a flanger].
There was a box that was made decades ago called a "Cooper Time Cube". People laughed at this box because it was hooked up to another box that had two garden hoses inside. I mean green garden hose like you hook up to a sprinkler to water your lawn.
On one end of the garden hose was a driver, on the other end of the garden hose was a microphone of sorts... and inside the box one length of hose was like 14 feet and the other like 17 feet [or something like that]... which mean that when used as two independent channels you'd get a delays that were under that magic like of 19ms [Haas], or if you used them together, around 31 [slap-ish].
Inside the control head were 4x UA 1109 "limited frequency amplifiers"... one to power the drivers, the others to amplify the pickups (mics?). I'm not sure what the frequency response was... it seemed like it was like 400 to 3-4k [why pay for frills], and I'm sure the garden hose didn't help with the frequency response either.
The thing about the Cooper Time Cube was that when you used it on certain instruments [like vocals] you could create a depth that helped the track sit in the mix in an incredible way.
The way I generally use the thing is to set it up on a vocal, bring it up to the point where I can hear the effect, then drop the send to the unit by like 2-3db so you can't really hear the return of it. Every now and again during the course of the mix I'll mute the returns from the Time Cube to see [hear?] if the vocal gets a measure smaller sounding... as long as it does, then I have the return at the right level.
You can do this with short delays as long as you have a filter in front of the send to the delay [and sometimes it's a good idea to have one on the return from the delay as well] to limit the bandwidth of the event... and as I usually have a Thermionic Culture "Culture Vulture" on a send, I'll often have a bit of the return rolled into that to add a little distortion to the return for good measure... again, it's not something I'm looking to hear, it's something I'm looking to miss when I mute the returns.
I hope this was some measure of assistance... best of luck when playing around with this stuff.