In this excerpt from Start to Finish: Vance Powell Episode 6. Vance demonstrates how to use mixer routing to take control of delay feedback rather than relying on the dedicated Feedback control in your delay plug-in or hardware.
Vance explains how it works: He sends the guitar signal via aux sends to two different Fulltone TTEs, which are hardware, tube delay units. The delayed output from each TTE is routed to a separate console channel. He pans one channel hard-left and the other hard-right.
Here’s the trick. The Spin Fader channel’s output to the mix bus is turned off. That means that no delay is coming out of its output into the mix when Vance raises its fader. But raising the fader does put signal into the channel input, which means it also goes to the sends that route it back into the delays.
What you end up with is the original guitar signal feeding the delays and the delays feeding themselves, controlled by the Spin Fader.
Watch as Vance…
Explains SSL Console Automation
Automates the vocals to create the feeling of falling off a cliff in between sections
Rides the guitar faders to build energy and focus on highlights in the parts
Uses the absolute automation mode to add personality to the mix
Automates a rotary speaker at the end of the solo for a massive exit
Explains the extremely rare SSL screen that happened to come up while the cameras were rolling!
Write this one down… "Just because we can, doesn't mean we should"
A/Bs the output of the SSL desk to the output of the 2192 A/D Converter so you can hear how the A/D affects the mix.
Cleans the heads on the ATR-102 tape machine used for printing the mix
Explains his favourite tape formula
How Do I Watch Start To Finish Vance Powell
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