Have you tried the stereo widener?..
I'm not 100% sure, but i think that's what it does.
A constant delay for one stereo side is not a good habit on recordings, as it will produce a nasty comb filter effect. I never heard a professional recording where this effect was used.
On stage the haas effect is neglible, since 20 ms is 6 m or 20 feet of sound speed. I have a Haas effect already when I don't stand in the center line of the venue.
The Air Chorus and the Micro Pitch (Mix parameter all to the right) produce a moving Haas effect that is much more effective and mono-compatible.
About L/R EQ: our Stereo Widener does exactly that and beyond, as the Stereo parameter will invert the phases of the left and right EQ signals, when turned all the way up. Even then the Stereo Widener is still mono-compatible.
This is doable with with the delay section, but the sound isn't optimal
What does "not optimal" mean?
A constant delay for one stereo side is not a good habit on recordings, as it will produce a nasty comb filter effect.
... if summed to mono. In air this is not really noticeable.
On stage the haas effect is neglible, since 20 ms is 6 m or 20 feet of sound speed. I have a Haas effect already when I don't stand in the center line of the venue.
The Haas effect allows the delayed signal to be louder or at the same level as the undelayed.
I agree that this is not commonly used on professional recordings but it is a really useful and simple trick to use while practicing.
CK is right... Don´t do this.
You can check it out yourself. Use a normal playback track and record a new guitar track, panned to one side. Then copy the track, pan it to the other side and put a like 15 to 27 msec of delay to one side. While this sounds cool if you are in the center of the stereo field, it will sound horrible when you leave your listening position. Just step out of the stereo field moving sideways. This way the sound becomes more mono, the more you move outside. You will notice the guitars beginning to phase, and at some position you will have severe cancellation effects...
I would love to have the (Guenther) Haas effect for my next jam session. 
Listen to his sound samples on soundside.de! It's a beautiful style and his Marshall Plexi demo sounded really great. 
back to topic:
I don't know the Haas effect, but I've detected all this little details we are searching for are often sensless on stage. Most of the people doesn't hear the difference between a Marshall and a Mesa. They only wanna have fun.
This details could be important for us only, if we record in a studio.
Nevertheless we are searching and digging for each little detail, because we are guitarists.
A constant delay for one stereo side is not a good habit on recordings, as it will produce a nasty comb filter effect. I never heard a professional recording where this effect was used.
I guess thats somehow wrong. The Haas-Effect is used in great variety on a lot of professional recordings, including nearly all (rock)mixes done by Andy Wallace (where a LEXICON unit is used to achieve that certain sound) and there are also whole chapters in mixing and recording books about the ultilization of the Haas-Effect.
I use the effect in my mixes since years and so far no artist or label, including Roadrunner and other bigger companies, has complained about it. When done correctly there is absolutely no combfiltering or phase cancellation. 
But, integrating this FX into the KPA is not a good idea in my eyes as there are a lot of variables to be taken into consideration to get a clean Haas-Effect.
CK is right... Don´t do this.
Maybe first fiddle around with it yourself before denying it completely.
I could be wrong but I always believed that Michael Wagener used this technique on Extreme's Pornografitti album. With great results btw.
If I remember correctly, Nuno just simply (maybe not the right adverb describing this guitar work) recorded each track twice and then the tracks were panned hard left and right. Think I read in a "Gitarre und Bass"-feature about this record. One of my alltime favourite guitarplayers, by the way...
Maybe first fiddle around with it yourself before denying it completely.
I already had my lesson and ruined some real nice live gigs with this.
The Haas-Effect is used in great variety on a lot of professional recordings, including nearly all (rock)mixes done by Andy Wallace (where a LEXICON unit is used to achieve that certain sound) and there are also whole chapters in mixing and recording books about the ultilization of the Haas-Effect.
Can you elaborate a little bit what Andy was doing exactly with it or what he wanted to achieve with it? What a legend he is!
I already had my lesson and ruined some real nice live gigs with this.
Hm, seems like the basic principle of the Hass-effect was not understood then.
Can you elaborate a little bit what Andy was doing exactly with it or what he wanted to achieve with it? What a legend he is!
Not enough time. Do a Googlesearch on AWs PCM-trick or stuff like that. Since this surfaced it has been covered pretty much in a lot of pro-audio forums. Funny thing is that since prices of used PCM 42s have risen enormously...
Haha, I guess so. I'll look it up. May I ask you what Bands you worked with on Roadrunner?
Haha, I guess so. I'll look it up. May I ask you what Bands you worked with on Roadrunner?
Yeah of course. These were THE ANTI DOCTRINE, DAYS IN GRIEF and several others I made pre-production demos with...
Haas-effect? I've never heard that somebody used my name for an effect.... 
I liked this demo of how to use the Haas Effect without destroying your mix.
I listened to this video thru my iPad mini with mono speaker - not in purpose.
I could hear the sound being degraded by the unavoidable comb filter.
This video does not address this problem in a proper way, nor do most other internet sources.
The Haas effect applied on a stereo speaker system will have the effect that the sound will pan more to the side with the zero delay. This is the main claim of Mr. Haas. This can easily be perceived by everybody, but is also rarely claimed by those sources.
you should clean your inbox
Display MoreI guess thats somehow wrong. The Haas-Effect is used in great variety on a lot of professional recordings, including nearly all (rock)mixes done by Andy Wallace (where a LEXICON unit is used to achieve that certain sound) and there are also whole chapters in mixing and recording books about the ultilization of the Haas-Effect.
I use the effect in my mixes since years and so far no artist or label, including Roadrunner and other bigger companies, has complained about it. When done correctly there is absolutely no combfiltering or phase cancellation.
But, integrating this FX into the KPA is not a good idea in my eyes as there are a lot of variables to be taken into consideration to get a clean Haas-Effect.
Maybe first fiddle around with it yourself before denying it completely.
I agree, the Haas (aka "Precedence") Effect is an extremely common studio trick - so common, that some amp modelers include this as a standard feature. It's all over Van Halen's "Balance"; the intro to "Don't Tell Me", for example has a 9mS delay in the right channel going on in the intro. Producer Bruce Fairbairn was the first producer I recall fessing up to doing this on guitars in a magazine article, but it's been around for years and more often referred to as "short delays" in interviews possibly to keep the cat in the bag.
Now.
Done simply, as in this example, the Haas Effect has the side-effect of dragging the listener's perception of panning to the non-delayed (left) side as is the case here; in fact, studies have shown that channel delay alone is so powerful that the case can be made the pan pots aren't necessary at all - hard left, right and center is enough for some mixers, due to the fact that level-based panning alone does not yield a very robust sense of imaging all by itself.
But yes, done simply it can definitely cause comb-filtering problems when summed to mono. A more sophisticated technique is to set up a pair of differing short delays (ideally prime numbered, such as 11mS and 17mS) for each channel and fading them in a bit under the main signal as an aux send. This is a kind of synthetic early reflection, without the pseudo-panning effect because you're hearing the direct signal first. Very useful with vocals.
So Anyway: If there isn't a clean way of performing this effect already somehow, I'd give it a +1 because that's one more studio effect that can be offloaded onto the Kemper. But there are many, many modulation-delay type of effects that sound similar, typically all you have to do is find a chorus with an adjustable phase, set its LFO to 0Hz and there you go. But it's definitely not something to be dismissed out of hand.
-djh
Dallas, the pair of short delays for early reflections is fine. It minimizes the comb filters by the existence of more delays. But this has nothing to do with the Haas effect.
Also the books are not always right: using prime numbers of milliseconds or samples does not yield to optimal results.
One hard fact about the Haas setting:
If you delay one side by 20 ms and make a mono mix, a tone at 75 Hz will be killed from the signal, including all its harmonics. Gone!
What way can the Haas effect be improved?
