The team at BLEASS just dropped BLEASS Tides, and it’s awesome. I’ve never seen a plugin that’s able to create such unique and unpredictable delays like it does with just a few clicks of the mouse. It’s clear that a lot of thought went into this; and, specifically, a lot of thought about how producers could use delay in a truly unique manner.
To celebrate the release of their newest plugin, we reached out to the team to learn about the process they underwent to create BLEASS Tides, as well as some potential tips for how to use the plugin, and delays in general. There are some incredible production tips in here, so if you’re a producer, make sure to pay close attention to see how you can make your delays stand out.
When you’re designing a delay plugin, where do you start? Are you chasing a specific sound, or is it more about pushing the boundaries of what a delay can do?
We’ve long been intrigued by the idea of giving users deep control over effects within a delay’s feedback loop. Typically, delays feature high-pass and low-pass filters in the loop, but we wanted to explore additional effects to shape the sound in fresh ways. This led us to develop a robust modulation system, which breathes life into even the simplest delays. For us, pushing boundaries is also symbolic. Our first plugin, BLEASS Delay, launched in 2019 and its success fueled our passion for plugin development. With BLEASS Tides, we’re entering a new chapter; revamping our audio engine and user interface to deliver even more powerful tools to musicians. We’re proud to have crafted a unique delay plugin that reflects our collective vision.
A lot of producers treat delay as a set-it-and-forget-it effect, but there’s so much room for experimentation. What’s an unconventional way you’ve used delay recently?
We’ve been experimenting with feedback set to 100% or higher, creating an infinite sound stream. When done right—especially with BLEASS Tides—this can produce a continuous flow of music. Another approach we enjoy is crafting risers: feeding a simple one-shot into the delay, cranking the feedback, and applying effects in the loop to distort the repetitions wildly.
Automating the Kill parameter in Tides lets us cut the sound precisely before a drop. Fun fact: we once turned a seagull scream into a riser for a Tides promo video using this technique.
We also often flatten Tides’ output into samples, unlocking an endless source of unique textures.
What’s an underrated feature in delay plugins that more producers should be paying attention to?
We believe the ability to modulate and automate delay time is an overlooked gem in modern delay plugins, offering a playground for creative sound design. In BLEASS Tides, we’ve taken this further with our Inertia feature, which gives precise control over how delay time changes are applied. Producers can choose between two distinct modes: Crossfade, which smoothly transitions between delay times using a volume fade—ideal for glitch-free shifts—and Tape, which mimics the organic speeding-up or slowing-down of analog tape, adding a nostalgic, warbly character. The Inertia dial lets us fine-tune the speed of these transitions, unlocking everything from subtle evolutions to dramatic pitch effects. We also love using ultra-short delay times to craft comb filtering effects that add unique
textures. These underused tools can transform a standard delay into something truly inspiring.
How do you use delay to create a sense of space without stepping on the reverb?
We often preserve the delay’s high end, widen it in stereo, and enhance it with phasers or choruses before routing it to reverb for a lush, spacious feel. Alternatively, we apply delays to the driest signals possible—disabling any pre-existing reverb, like a synth’s native effect—and then layer on a subtle or bold reverb afterward, depending on the mix. Frequently, the delay alone delivers all the space we need.
Another powerful technique we use in BLEASS Tides is applying a stereo LFO to the frequency shifter or ring modulator in the feedback path. This creates stunning stereo effects, swirling the delayed signal across the soundstage with dynamic movement, adding depth and character without overcrowding the reverb’s territory.
Any advice for producers who struggle to get a delay effect to sit in their mix without feeling too dominant?
We recommend focusing on three elements: volume, frequencies, and stereo placement. Start by tweaking the dry/wet balance to blend the delayed signal smoothly. For more control, try ducking—lowering the wet signal’s volume based on the dry signal’s intensity. Some BLEASS Tides presets make this easy.
In the frequency domain, we use filters in the feedback loop to tame problematic ranges, like cutting low frequencies to avoid muddiness. Finally, we leverage ping-pong effects and stereo modulation to spread the delay across the field, keeping it distinct from the centered dry signal. Parallel processing delays and reverb is another technique we swear by for a balanced mix.
Are there any old-school delay techniques that you think producers should be revisiting today?
We’re fans of the classic slapback delay from the ‘60s and ‘70s—think John Lennon or Stevie Wonder. It’s a single repetition (0% feedback), short delay time (60–120ms), and filtered with high-pass and low-pass to avoid clashing with the original signal. On vocals, it adds space and presence effortlessly, while on snares, it brings a bouncy, vintage vibe.
With modern tools like BLEASS Tides, we revisit this technique by shaping the repetition with the feedback effects chain and adding stereo modulation for extra depth. We also believe short and ultra-short delays deserve more attention—they’re perfect for injecting unexpected character into any instrument.
Buy BLEASS Tides here.
The post A Conversation With the BLEASS Team: How To Use Delay In A Unique Way appeared first on Magnetic Magazine.