Product News | February 9, 2016
The heart of iZotope is a motley crowd of creative, passionate, unabashed audio nerds. And we’re quite proud of that, thank you very much.
So every now and then, we give our engineers time and space to nerd out and be creative without boundaries. There are no rules and no set goals during these brainstorms—we use only our intuition and our curiosity as a guide. It was during one of these recent two-week hackathons that we hacked into existence DDLY Dynamic Delay, our brand-spankin’ new effects plug-in. It’s unlike anything else we’ve ever made.
What is DDLY? It’s a one-of-a-kind dynamic effects plug-in on steroids. This new plug-in represents the best of who we are at iZotope: passionate audio folks cranking stuff out, and having a blast while we’re at it.
DDLY combines the responsiveness of dynamic signal processing with analog and granular delay. Load DDLY in your audio editing software, split the signal to two different delay paths, and DDLY will lift the dynamics for a cleaner, more complex sound than a traditional full-signal delay plug-in.
The two delay paths are like two halves of a brain, taking different parts of the signal and working in tandem to create the output. Because it’s program-dependent, DDLY delays the signal differently depending on the transients and character of the sound.
Play with the controls, adjust the knobs, split it across different dynamics, and the processing reacts dynamically in real-time to the performance and your music.
Here at iZotope, we’ll always encourage you to experiment with your tools to discover your unique sound. But we know that some users simply need plug-ins that are reliable, consistent, and straightforward. We built DDLY for both the Jekylls and the Hydes.
DDLY is perfectly capable of professional, clean-sounding, utilitarian delay. But for those times when you want to throw expectations out the window, there’s plenty of room to explore and get inspired by gnarly, new sounds. There’s no week-long learning curve here. We built DDLY around a UI that lets you simply load it up and start tweaking.
The dynamically driven processing means DDLY’s desired effects are most obvious on tracks with a wide dynamic range, like drums or vocals. But even if you have a track with a narrow range, you can still use one of the delays to add some “oomph” to your transients.
The dynamic range of a drum set is wide as a canyon—and that makes it perfect for DDLY. Say, for instance, you have a snare hit with incredible attack. DDLY lets you add delay on just those transients and leave the rest of the performance alone. You get a super deep attack, but the program-dependent delay won’t muddy the signal forever.
Add echo to the harder attacks of the kick and snare for that cool, echo effect, without adding delay to the snare buzz, room noise, or a sloppy high hat. Or dial in different delay patterns for the transients and the more constant energy of the performance, to keep the foundation in place and let the accents and flourishes soar.
Add delay and echo to the loudest moments of a guitar track, while preserving the quieter, intimate moments. Acoustic guitars are great for DDLY; they give you an immediate warm, intimate sound, but DDLY can add delay only on the accents or loud sections to open up the performance for more spaciousness. This lets the “big” moments bloom without the risk of harsh feedback.
Emphasize the full range of the vocal take with a subtle delay on the verse and a more intense delay on the bigger moments of the chorus. Instead of laborious studio setup with multiple mics and complex routing, DDLY let’s you dial in unique performance-based delay effects quickly.
Any source with a strong dynamic range and expressiveness, like piano or synth tracks, is a great candidate for DDLY. Sound designers will find great uses for DDLY on their projects, too—the unlimited capacity for creative exploration will unleash new sonicscapes depending on how you tweak the controls.
DDLY was inspired by the program-dependent release section we developed for the Dynamics module in Ozone. Plus, the analog delay uses our “trash” technology for cool-sounding distortion.