Vocal Delay

In practice, a vocal that is just not melding into a mix or vise versa is sent to a aux track with a personally selected reverberation plugin inserted to its signal chain, placed pre-fader, and then blended to create a “room” that it lies in instead of a dry vocal in dead space. This can be used for backing harmonies during a chorus so they do not bury the lead voice. Using EQ on the auxiliary reverb channel to remove the added muddy behavior of the insert results in controlled depth and processing in series with other plugins.
Delay is an effect that has a variety of methods of use, however to define it simply delay is impeding the start of a signal by a selected time, often in milliseconds. Likely common circumstances in which delay is
The introduction to a song sets a mood for the piece and varies by genre. There are times when applying compression and use a side chain that activates it to react only when it sounds louder than separate track(s) that it may be burying in a mix. This technique is called “ ducking.” For example, when the vocal enters a song it might not be as dynamically powerful to pierce the instruments before it. Ducking particular parts such an active keyboard line, or guitar, balances the voice and places it forward in the mix, as it is usually the most important part in a song mix. (Izhaki
Light saturation to the vocal give a vibe that aids delivery of the mix, I have used this technique in the song “Boys don’t cry” on the main vocal and one of the lower harmonies of the background vocals. They were recorded rather poorly but the ending result went along with the final produced mix better than expected. Saturation is often used to give a mix more analog textures without actual analog processing. Pre-Digital engineers used hot tape to create a type of compression known as tape saturation and the Fab Filter Saturn gives options to imitate this processing. (Volans