Now we'll increase the delay time slightly to get to our medium delays. Now these won't be modulated. They're going to be static delays and their, they much more represent things we hear in the real world. And the first really important use of a medium delay is what we call a slap back delay. And it's just a quick repetition that we hear. So it will be a short delay, and with no feedback. And it's a great way to get the sense of something being in a room. Because every time you are in a room talking there's a wall there somewhere, and the sound bounces back at you. Now, if you have two parallel hard surfaces, and you clap your hands in that room, you can hear like a ringing, over and over. We call it a flutter echo. And that's the equivalent of having a slap back delay with a higher feedback. Usually we try to avoid that kind of sound, but the slap back delay is very, very useful, sounds great on guitars and also vocals. People often move to a reverb right away. Which we'll talk about in awhile. But people often jump on using a reverb to create the sound of a space, to make people think that the sound was recorded in a larger room than it was. But often a reverb can fill the mix with kind of a noise. It can be, it can be a little overwhelming. And a lot of times a slap back delay is all you really need to give an element a sense of space. As we move into medium and long delays we start imitating the sound of real spaces. We also will start moving into more complex delay plugins like the stereo delay we're seeing here. Hopefully, many of the knobs look familiar on the stereo delay plug-in, really it's just two simple delays, one for left and one for right. Let's look at it. First we have a delay time for the left hand side then we have a feedback control for the left hand side and we have a dry/wet control for the left hand side. Additionally, we've add, we've added cross-feedback, which allows us to feed back the left signal into the right-hand side, and we have cross-feedback from right to left. These are very common controls on a stereo delay. One unique thing that this has added is a filter inside the feedback path which allows the sound to get progressively more filtered with each delay which helps make the delay sound different from the dry which can be very nice at higher feedback settings. One thing we notice in real rooms is that when playing an instrument in a real space, you'll often hear a very loud reflection off a nearby wall. And that reflection can really identify the sound as being in a space. And we can emulate this perfectly with a very simple delay. Set around 80 milliseconds for our Delay Time. And an Output Dry Wet of around 20%. First, we'll hear the keyboard part without this, and then we'll introduce the slap back delay so we can hear what it sounds like. [MUSIC] So this keyboard part's a little dry, a little too much in your face, and a little without space. [MUSIC] [SOUND] As we add the slap back delay, which is a simple short delay, we start getting a sense of being in a space. It's subtle, but it really is important for mixing. Let's try this again. First without the delay. [MUSIC] And then with it. Without. [MUSIC] . And when I stop, you hear that [INAUDIBLE] delay at the end. So that can be quite effective. Now, if I bring the dry/wet up more, it might be a little too much. Let's hear. [MUSIC] . [MUSIC] As you get too much wet, it starts sounding artificial. So just a little bit is all it takes to create the sound of a real space. Now if you want to take this idea of a slap back delay even further, you might want to change the delay time just slightly in the right and left hand speaker. That would tend to emulate being a different distance from two walls in the same space. Let's try just a little bit different in the right-hand side. Let's hear it first dry [MUSIC] and then with the delay [MUSIC]. [SOUND] With headphones on that really gets wide. I really notice those delays out to the side, and the dry signal in the middle. Please try out the slap back delay. Often, this kind of a delay is actually better than a reverb for creating the sound of a space. Because in many rooms all you notice is that signal reflection. And often a stereo delay is all you really need to get that width and the sense of being in a space.