Return Delay Magic

Producers often underestimate the creative advantages of using delay units on return tracks. This technique seems obscured by the fact that most delays have an adjustable dry/wet parameter, which makes the unit a parallel effect when on anything other than 100%. Nevertheless, this implementation is limiting. Dropping a delay in serial will not allow you to process the delayed signal further independently of the dry signal (outside of FX within the delay unit itself). Using return tracks instead solves this issue and opens up infinite possibilities. Look at the schematic below that lays out the signal flow of these two setups.

   

Audio Examples

1. This first example is a recording from Loopmasters called ISeeTheSunlight_Dry with our delay unit inserted into the signal chain. I was able to filter and modulate the wet signal a bit because our unit contains those features. However, any processing I do after the delay will affect the entire output, the mix of dry and wet. There is only one path for them to take to the output.
   Vocals: insert (pseudo-parallel) delay
   
2. In this example, you hear the dry and wet signals processed separately, like in the diagram above. After the delay, I dropped an automated filter and a stereo imager called S1 from Waves on the wet signal. Furthermore, I noticed how the send/return setup has allowed me to deepen and widen the sound.
   Vocals: parallel delay, further return processing
   

Separating Left and Right Channels

In this example, you are hearing the dry signal as well as two wet signals, which are hard-panned and processed individually. I used slightly different delay times on the two channels to simulate a realistic room (in an acoustic space, reflections from other surfaces take different amounts of time to get to you). I also did some automated filtering, like in example 2. For this setup, you will need to create two return tracks. Then, send the source track to both of them and pan them hard left and right. Set the returns to "pre-mixer" mode. This mode will allow you to adjust the dry signal level without changing the amount of signal sent to the returns - opening up even more possibilities for automation and balance.

Vocals: separate left and right delay processing

The Process in a Nutshell!

To conclude, it makes perfect sense to use delays as inserts. This is because they're generally relatively CPU‑intensive effects — so it makes sense for multiple channels to share the same plug-in instance. In addition to this, it comes in handy to use numerous source channels to share the same virtual 'space.' You might also use this 'send-melting' approach to layer and sculpt sounds. In either case, you'll find definite benefits to experimentation with those send effects, whether for tonal shaping or problem-solving.