Let's orient ourselves with our single vocal. [MUSIC] Once again, listening to our phantom center, we're going to name this track ECHO. On our aux that's receiving its information through bus 5. If we look at our mix window, bus 5 is sending this fader information into our delay unit. And if you notice, I've used one delay unit the whole time. 60,000 divided by the tempo, the tempo of this song is 92 beats per minute. And that's shown right there. I'll go back to bar 20. 60,000 divided by 92 is 652.173. I don't really have to do that math because if I go to this unit and hit a quarter note, It'll give me 652.2. And that is 652.173 so it's rounded off a bit. And we will now listen to our vocal with the delay on it. [MUSIC] Kind of distracting, all over the place but it might not be the best value for us so if we have a quarter note will come up with an eighth note and our delay will be a bit faster. [MUSIC] Let's go to a 16th note. [MUSIC] Let's go to a 32nd note, I can actually move this into a half and that will be 81.5 [MUSIC] I can have that and go down to a 40.5. [MUSIC] I can have that and get down to 20. [MUSIC] So forth and so on. Now, if you notice what I just did as I was subdividing, I passed through echo and get into slap back, got in to doubling, got in to widening. I'll show that to you once again, 652 this is a quarter note delay. [MUSIC] Now, I will have that and go to an eight note I'm still in echo at 326. I'll have that and go to a 16th note. I'm right at the border. I've just past echo. I'm at 163. So I'm still in echo. But if I have this again, I'll be below echo parameters. [MUSIC] So I'm still beating at a certain tempo with the song, let's have that again and go down to 81.5, now I've come down into slap back parameters, listen to this. [MUSIC] It's tempo-based, but it sounds creative, it sounds interesting. It sounds like it's dancing with my music. I don't have the music up, but it sounds like it's dancing with the music a bit more. I'll have this again, and go down to 40.5. Now, I've come down into my doubling parameters. Let's listen to that. [MUSIC] A lot tighter than a slap back. I'll have that again. I'll come down to my widening parameters, so that'll be 20, and we'll listen to it. [MUSIC] We'll actually pin one to the right and pin one to the right since we're going to widening. [MUSIC] And you can hear that I've spread image up. We'll pin those back to the center, go back out even further to a half note and now I'm going to put this at the end of the phrase and instead of the delay being on all the time, I will take the send to the delay, the delay unit is still up. I've actually lowered the send. To the delay, and I am going to automate it and put it on only the end phrase, and give myself a little bit of feedback. So it will repeat a few times. [MUSIC] That was a half note. I'll do that same phrase with a quarter note. [MUSIC] I'll do that same phrase with an eighth note. [MUSIC] And I'll do that same phrase with a whole node. [MUSIC] Cool stuff. [LAUGH] When you get to echo, you can use your tempo based relationships. You can rely on your DAW to find the half note, whole note, 8th note, 16th note for you, if you know the tempo. And in this case, I do know the tempo, it's 92 beats per minute. If you're working with a live drummer or guitar performance or piano performance and you're not working with a clique, your tempo might be shifting, you're going to proximate the tempo by using some tempo method. Divide that into 60,000. You'll find a quarter note. You can then use that quarter note, double it, you'll have a half note. Double that, you have a whole note. If you have the quarter note, you'll get an 8th note, have that you'll get a 16th, have that you'll get a 32nd, have that you'll get a 64th, have that you'll get a 128th. And you can use the whole series, from widening to doubling to slapback to echo relationships. Let me do something a bit tricky. I process my vocal so that it can follow tempo. Talastic audio and I'll get into that in other lesson. I'll put a half note to lay on this and I'll automate that half note at the backend of this composition. [MUSIC] I'll change the tempo, speed this 1 up to 120 beats per minute. And take a listen to the same phrase. If you notice, my half note has changed. I'll go back to 92. That's a half note at 92 beats per minute. I'll go forward to 120. My delay unit, because it's following tempo Is actually change this relationship. And my audio is in a mode where it can follow the tempo also. [MUSIC] This time I'll go the other way, I'll slow down to 80 beats per minute and as you'll notice my delay has changed once again, let's listen to it at 80. [MUSIC] Understanding tempo, understanding the delay relationships can help you when you're working with different tempos in different songs to add a little bit more flavor to your vocal compositions. Let me get back to my correct tempo. Move this to a nice quarter note and listen to that. [MUSIC] Let's look it some more.
