The biggest difficulty in working with delay plug-ins is that the very same principles that make the effects work also make them go haywire.
When a couple of tracks arrive at the recorder slightly out of time due to acoustic delays in the room, you can avoid phase cancellation and comb-filtering by using a delay plug-in to shift things around in time until everything is lined up right. When a backing track sounds a little thin, you can use a delay effect to create extra copies shifted slightly out of time to create phasing and comb-filtering effects.
It’s been mentioned over and over throughout this chapter, but what is really so bad about a comb-filter anyway?
Since it’s a key component ...