Famous Delay Settings Explained: Chet Atkins, Jimi Hendrix & More 

Thank you for your comment and for coming over to the new channel! I'm going to try to put things on here much more frequently than on the old personal page, and the plan is build this channel up (all at the new production/video/audio quality) into its own thing. Glad you're here!

Not sure if the comment was removed or if you already found out the answer, but I received a RU-vid notification that you'd asked about the millisecond setting. So to answer that fully....Yes, that's how fast or slow the delay is. 1000 milliseconds in 1 second. i.e. 1000 ms and above is getting into the slow end. Less milliseconds is shorter, and so a "faster" delay. i.e. 250 ms is really just 1/4 of a second. The early Chet/Echosonic amp fixed delay time around 150 ms is even faster. Robben Ford likes 116 ms so even shorter. By the time you're under 75 or even 50 ms it's almost too fast to distinguish. At that point it becomes more like a doubling/thickening of the initial note. There's more of an art to it than often times covered on the interweb but there are no secrets on this new page, hence the deep dives and freedom with which I'm happily giving all the trade secrets away. My personal favorite uses are ones where it's there but not as "timed" as that whole 1980s routine where the echoes are essentially part of the entire composition. I like the delays/settings where it's tucked away enough to maintain clarity of the picked notes but precisely set enough to do something cool. What's really cool is to use the science of it to break the rules and deliberately "offset" the repeats. I get into the "rules" and "formulas" in Part III which is the last in this series and should be published in a few more days but I hope that video isn't too complicated or esoteric to be of use. I put a bunch of animated formulas and broke down the math on screen.

@thefretboardplayground Sorry I deleted the comment because of misspelling my OCD. Anyways, to add to my question and how you answered it makes sense because as I've played around with Delay I notice that the lower the Miliseconds the harder it is to hear and I'm guessing thats because the miliseconds it has to do with that and the higher you set it the longer it takes for the pedal to "Create the delay" if you will lol. A famous example is what we all know The into to welcome to the jungle which is a very fast delay (I'm guessing it's fast because the Miliseconds are so low please correct me if I'm wrong) but we all know of it. Here is something I've always wondered. You mentioned the science aspect of Delay which I love I like getting into that stuff myself (I think most people tend to forget that music in general no matter what instrument goes way beyond tone and how you play melodically and technically it's about the acoustics, sound ect) why does Reverb and Delay mix so well together ? Most artists no matter what genre ALMOST ALWAYS have some sort of reverb and delay on there pedalboard and even in the studio it's the same and Producers enhance these two with pro tools and other things. Other than the tone it gives, on the scientific and acoustic side what truly makes reverb and delay mix so well together ? I've always wondered. Personally my favorite of the two is Spring Reverb with Any kind of Tube Delay. It just gives such a bright tone and color and presence.

​@@Desertsniper15 I haven't ever put Welcome To The Jungle under the microscope but can conclusively answer your question without doing so. The answer is: yes, the lower the milliseconds get, the quicker the repeat, and as the repeats move closer and closer to the initial note, the echo/repeat starts to blend/blur with the original sound. I won't get into another long explanation right now but, in fact, chorus and flanging are also time-based effects. We just don't think about them as such since the times are so short that our ears don't hear any repeats or echoes. For reverb and delay I have less of a helpful answer. Basically it's all a matter of creating a sense of ambience and space without washing out the sound. Both have their places but it's a case by case situation and sometimes neither. I could be happy the rest of my life plugging a Strat into a tweed Bassman or early AC30 with nothing but a cable between but learned a lot about effects along the way because it's the way the guitar world moved after a certain point in time. Buddy Guy on Cobra Records would be ruined by pretty much any effects at all. Others' entire careers would be inconceivable without them (which I'm not really into --- the guitar is what moves me --- but it DID become a shift and a major thing other people got into by the 1980s; just not me). I'm usually middle of the road in-between. Time-based stuff is there if necessary, but never on all the time.

Awesome, I'm really glad this helped you! Thank you for letting me know

thanks for watching!

Of course! It's been well-played and just about needs a refret but is still going strong! Thanks for watching and for checking out the new format.

​​​@@thefretboardplayground I have a homemade Echosonic amplifier me and my grandpa modified $100 monoprice amp we swapped the speaker out for celestion 100w 8 inch speaker we also made the tape loop machine like an Echosonic has I've gotten to play with an Echosonic amp here in my hometown In North Carolina a guy knew Ray Butts in Cairo Illinois he still has his Echosonic that Ray gave him it was awesome he would also bring it to church with him and play that's where I got to play it with my guitar I also built My Guitar when I was 11 years old with my grandpa Place the guitar on the profile picture I'm turning 21 next month. I also use Thomastik 11 gauge flatwound strings

Awesome, tape machines are great (aside from the regular maintenance and cleaning requirements; I get the advantage of digital because of that, but tape machines are still cool!). The Echosonics were great amps, I can't remember all the details right now but think the time was fixed around 150ms or so on the tape loop. Instant early Chet/Scotty Moore sounds! Nice you got to build your guitar with your grandpa!

Hi Frank, thank you for watching and for commenting with your suggestion, much appreciated! I'm not entirely sure I understand the exact question..was your question about making a preset using 4 to 6 delays? (I seldom use more than one, if one at all, but did chase learning how to use more in order to make this video)....or was it just how to come up with 4 to 6 presets using a single pedal (or dual) setup?

@@thefretboardplayground I ment you could show us to build 4 or 6 delay preset on the timeline for exemple. Like 2 short 2 long 1 special and a extra modulated for exemple… it would give people more flexibility instead of just using 1 or 2 preset even with delay pedal with like 100 preset available. A common mistake is to not put the right amount of mix or repeats for a certain delay time or not the right hi pass filter