Fairlight FX · Delay · Resolve 21
Delay in Fairlight
A control-by-control guide to the current Fairlight Delay plug-in: independent left/right delay times and feedback, filtering, feedback shaping, stereo blend and Dry/Wet output — documented from the live Resolve 21 interface.
Separate Delay Time and Feedback.
High Ratio · Stereo Blend
Dry/Wet · Level
1. Interface anatomy
What every visible Delay control is responsible for
The ranges below come from the supplied live Resolve 21 screenshot. The values currently displayed in that screenshot are examples of one plug-in state, not recommended presets.
Input Format
The current UI exposes an Input Format selector and the screenshot is set to Stereo. The L/R architecture below follows that stereo configuration.
High Cut / Low Cut
Filter controls bound the delayed signal's useful frequency range. The visible ranges are High Cut 100 Hz–20 kHz and Low Cut 20 Hz–5 kHz. Use them to keep repeats from competing with the source.
Left Delay Time
0 ms–1.2 sec. This is the timing of the left-channel delayed event. The live UI displays time directly in milliseconds/seconds rather than beat divisions.
Right Delay Time
0 ms–1.2 sec. A different value from Left can create an asymmetric stereo repeat pattern; always verify mono compatibility when using strong L/R offsets.
Left / Right Feedback
Each channel exposes signed feedback from −99% to +99%. Treat the sign and amount as a sonic control, not as a simple 'more or less echo' slider; increase feedback cautiously and listen to the tail.
High Ratio
0–100% inside the Feedback section. Because the live UI labels it as a feedback control, use it while listening to how the upper-frequency content of the repeat train behaves rather than copying a generic number.
Stereo Blend
None → Full. This control sits in the Feedback section and changes the stereo relationship of the repeats. Use it together with different L/R times, then check the result in mono.
Dry / Wet
Balances original and processed signal. On a direct insert, Dry/Wet defines how much delay is heard; on a dedicated effect-return workflow, avoid unintentionally doubling the dry path.
Level
Output trim from −24 dB to +6 dB in the visible UI. Use it for level matching when A/B comparing the effect — louder should not automatically sound 'better'.
2. How Delay works in a mix
One source, timed copies and a controlled feedback tail
1 · Set the time
Start with the musical or editorial purpose: a short doubling effect, a clearly audible repeat, or a transition throw. Then choose L/R timing.
2 · Shape the repeat
Use Low Cut/High Cut so the repeat occupies less spectral space than the source when necessary. A filtered repeat often sits behind dialogue more naturally.
3 · Build the tail
Raise Feedback only as far as the scene needs. Long feedback can mask consonants, fill pauses and create level build-up quickly.
4 · Match output
Set Dry/Wet for the chosen routing and level-match the processed signal. Toggle A/B while monitoring the whole mix, not the soloed track only.
3. Practical workflows
Use Delay for a purpose, not because the track feels empty
Short doubling / width
A small timing difference between L and R can create width. Keep feedback restrained and always check the summed mono result for comb-like thinning or image collapse.
Audible single repeat
Use a longer Delay Time with low feedback when you need a deliberate answer after a word, hit or transition rather than a dense repeating tail.
Rhythmic delay
The visible UI uses milliseconds/seconds. For music, calculate the desired beat value from tempo and enter the corresponding time instead of guessing by eye.
Automated delay throw
Use Fairlight automation to bring the effect in only on selected words or transitions. This preserves intelligibility while still giving a dramatic repeat exactly where it matters.
4. Delay vs Echo vs Reverb
Choose the processor by the structure you need
The current Delay and Echo plug-ins are not duplicate windows. Delay exposes independent L/R times and feedback plus Stereo Blend; Echo adds separate Feedback Delay and explicit cross-feedback paths. Reverb is the better choice when the goal is a continuous sense of acoustic space rather than discrete repeats.
Delay
Direct timed copies, independent L/R timing, feedback and stereo blend.
Echo
Independent Delay Time + Feedback Delay and L↔R cross-feedback routing.
Reverb
Dense reflections and a continuous room/space impression rather than separated repeat events.
Current Blackmagic Fairlight documentation is used for the present plug-in/insert architecture and Fairlight processing workflow. The exact Delay controls, ranges, stereo layout and graph described on this page come from the supplied live Resolve 21 interface screenshot, so older UI assumptions are not imported into the guide.