Valhalla Supermassive is a free plugin from Valhalla DSP that covers delay and reverb-style effects, and it is popular for huge ambient spaces. Instead of repeating what our reverb-focused page says, this article concentrates on the delay side of the workflow: how to set up sends, how to tempo-sync repeats and how to keep a delay tail from clouding a mix. Verify the current version and download on Valhalla DSP's own site.
Send, do not insert
Put the plugin on an aux or return track and feed it with send knobs. Set it to 100 percent wet, since the dry signal comes from the original track. This gives you one delay shared by many instruments and lets you EQ the effect separately.
Tempo maths you can trust
Delay times in milliseconds come from 60000 divided by BPM. Whatever sync options your version offers, these numbers are a useful cross-check:
| Tempo | 1/4 note | Dotted 1/8 | 1/8 note |
|---|---|---|---|
| 80 BPM | 750 ms | 562 ms | 375 ms |
| 100 BPM | 600 ms | 450 ms | 300 ms |
| 120 BPM | 500 ms | 375 ms | 250 ms |
| 140 BPM | 429 ms | 321 ms | 214 ms |
Scenario: a spacious vocal throw at 100 BPM
- Create the return and set a dotted 1/8 delay, near 450 ms.
- Send the vocal at about -15 dB on the send.
- Add an EQ after the plugin: high-pass at 300 Hz, low-pass at 5 kHz, so repeats sit behind the vocal.
- Automate the send up only on the last word of each phrase. That is the classic delay throw.
- Side-chain the return to the vocal if you want repeats to bloom only in the gaps.
Scenario: an ambient guitar wash
- Raise feedback until repeats blur into a continuous cloud (start around 60 to 70 percent).
- Roll off the low end of the return to keep the mix clear.
- Use a mix-level send at -10 dB, then reduce until the guitar stays the main figure.
- Use the plugin's modulation options gently to avoid a static, metallic tail.
Feedback safety
High feedback with a boosted low end produces runaway rumble. Put a limiter or a high-pass after the plugin whenever you experiment with extreme settings, and lower your monitors first.
Tips for different genres
- Dub: long feedback with filtered repeats, and automate the send on snare hits.
- Pop vocals: short 1/8 slap delay at low level for width without clutter.
- Cinematic: very long tails on pads with a high-pass at 400 Hz.
- Techno: dotted 1/8 on hats, low send, filtered high.
Troubleshooting
- Delay smears the vocal: the repeats are too loud or too bright. Lower the send and low-pass the return.
- Delay not in time: check that the host tempo is passed to the plugin or use the millisecond figures above.
- Mix gets washy: mute the return and confirm what the dry mix sounds like, then bring it back until it is barely noticeable.
- Clicks when changing time: that is normal for some delay algorithms; automate the time between phrases, not during them.
Mini A/B
- Choose 8 bars with a lead vocal.
- Print the delay wet on its own track.
- Play it with the original at low volume. If you can hear the delay clearly only when the vocal stops, the level is about right.
Level and headroom still matter with time effects. Our gain staging guide covers keeping returns from stacking up on the master.
FAQ
Delay or reverb first in the chain?
For clarity, delay first, then reverb, so the reverb blurs the repeats. For pure ambience, reverse it.
Can I use one instance for the whole song?
Yes, and automating sends is the simplest way to get variation.
Is it still free?
Valhalla has offered it as a free download, but confirm price and availability on the official Valhalla DSP page.
More free effects live in the free plugin collection.
Keep it musical
The best delay lines are felt rather than heard. Solo the return occasionally to check that repeats are rhythmically pleasing and do not clash with hi-hat patterns. If they do, switch between straight and dotted values or shorten the tail. Automating one parameter per section, such as feedback in the breakdown and mix in the chorus, adds interest without any new sounds.
Worked example: a delay-based chorus lift at 120 BPM
To make a chorus feel bigger, create a 1/4-note (500 ms) return with about 35 percent feedback, filter its top at 6 kHz and bottom at 250 Hz, and send the lead synth to it at -12 dB. Automate the send up by 3 dB in the last two bars before the chorus. The repeats will arrive as the arrangement swells, then fall away once the drop lands. Reduce the return by 2 dB if the hi-hats start sounding smeared.
Extra troubleshooting
- Repeats pile up on fast passages: shorten feedback or move to a slower note value.
- Tail rings after the song ends: automate feedback to zero on the final bar.
- Return level jumps between sections: check that send automation is not overwritten by a clip-based gain change.
Quick reminder
Turn the return off and on every few minutes while mixing. Ears adapt quickly to time effects, and a delay that felt subtle at the start can quietly become the loudest thing in the arrangement.
