262:, it was Lennon who first called the technique "flanging". Lennon asked George Martin to explain how ADT worked, and Martin answered with the nonsense explanation "Now listen, it's very simple. We take the original image and we split it through a double vibrocated sploshing flange with double negative feedback". Lennon thought Martin was joking. Martin replied, "Well, let's flange it again and see". From that point, when Lennon wanted ADT he would ask for his voice to be flanged, or call out for "Ken's flanger". According to Lewisohn, the Beatles' influence meant the term "flanging" is still in use today, more than 50 years later. The first Beatles track to feature flanging was "
463:". The sweep of the flanged sound seems to move in only one direction ("up" or "down") infinitely, instead of sweeping back-and-forth. While Shepard tones are created by generating a cascade of tones, fading in and out while sweeping the pitch either up or down, barber pole flanging uses a cascade of multiple delay lines, fading each one into the mix and fading it out as it sweeps to the delay time limit. The effect is available on various hardware and software effect systems.
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having a "jet-plane-like" characteristic. In order for the comb filter effect to be audible, the spectral content of the program material must be full enough within the frequency range of this moving comb filter to reveal the filter's effect. It is more apparent when it is applied to material with a rich harmonic content, and is most obvious when applied to a
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In both phasing and flanging, the characteristics (phase response and time delay respectively) are generally varied in time, leading to an audible sweeping effect. To the ear, flanging and phasing sound similar, yet they are recognizable as distinct colorations. Commonly, flanging is referred to as
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shifts into the signals as well. Thus, while the peaks and troughs of the comb filter are more or less in a linear harmonic series, there is a significant non-linear behaviour too, causing the timbre of tape-flanging to sound more like a combination of what came to be known as flanging and phasing.
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recorders and an identical signal was recorded on each channel of the tape, but displaced by approximately 18 inches along the length of the tape. During recording, an ordinary screwdriver was wedged between the recorders to make the tape run "uphill" and "downhill." The same configuration was
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discovered the effect in the late 1940s and 1950s; however, he did most of his early phasing experiments with acetate disks on variable-speed record players. On "Mammy's Boogie" (1952) he used two disk recorders, one with a variable speed control. The first hit song with a very discernible flanging
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employed during the playback/mixdown to a third recorder. The screwdriver was moved back and forth to cause the two signals to diverge, then converge. The latter technique permits zero point flanging; i.e., the lagging signal crosses over the leading signal and the signals change places.
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in one direction, and the playback of that recorder remains slightly behind the other when the finger is removed. By pressing a finger on the flange of the other deck, the effect sweeps back in the other direction as the decks progress towards being in sync. The
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The original tape-flanging effect sounds a little different from electronic and software recreations. Not only is the tape-flanging signal time-delayed, but response characteristics at different frequencies of the tape and tape heads introduced
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tape recorders side by side. The take-up reel of recorder A and supply reel of B were disabled, as were channel 2 of recorder A, channel 1 of recorder B and the erase head of recorder B. The tape was fed left-to-right across
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190:, then replayed with both decks in sync. The output from the two recorders is mixed to a third recorder. The engineer slows down one playback recorder by lightly pressing a finger on the
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in a harmonic series. Extending the comb analogy, flanging yields a comb filter with regularly spaced teeth, whereas phasing results in a comb filter with irregularly spaced teeth.
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that varies with frequency, giving a series of peaks and troughs in the frequency response of the system. In general, the position of these peaks and troughs do not occur in a
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In contrast, flanging relies on adding the signal to a uniform time-delayed copy of itself, which results in an output signal with peaks and troughs which
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186:. The term "flanging" comes from one of the early methods of producing the effect. The finished music track is recorded simultaneously to two matching
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signal. If the frequency response of this effect is plotted on a linearly-scaled graph, the trace resembles a comb, and so is called a
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music broadcasts. In this case the delays are caused by variable radio wave propagation time and multipath radio interference.
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Instant
Flanger from 1975 is an early example of a studio device that was able to successfully simulate tape flanging using
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876:"Realtime audio processing, part 4: Comb filters, Flangers and Chorus effects – a bit of theory - philippseifried.com"
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668:'Listen to My Voice’: The Evocative Power of Vocal Staging in Recorded Rock Music and Other Forms of Vocal Expression
393:, Warren Kendrick, devised a method to precisely control flanging by placing two 15 ips (inches per second) stereo
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750:"Liquid by Audio Damage - Modulation (Flanger / Phaser / Chorus / Tremolo) VST Plugin and Audio Units Plugin"
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together, one signal delayed by a small and (usually) gradually changing period, usually smaller than 20
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1079:"Barberpole Flanger by Christian Budde - Modulation (Flanger / Phaser / Chorus / Tremolo) VST Plugin"
931:"Blue Cat's Flanger - Classic Flanging Effect Audio Plug-in (VST, AU, RTAS, AAX, DirectX) (Freeware)"
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sweeping effect as shifting sum-and-difference harmonics are created analogous to use of a variable
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technology. Solid-state flanging devices fall into two categories: analog and digital. The
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to create the audio delay. The flanging effect in most newer digital flangers relies on
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was released on 5 August 1966, almost every song had been subjected to flanging.
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was created from a revision of this article dated 14 September 2007
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705:. Interludes between chorus and verse at 0:50–1:07, 1:40–2:05, and 2:20–2:46.
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Part of the output signal is usually fed back to the input (a re-circulating
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The
Stompbox: A History of Guitar Fuzzes, Flangers, Phasers, Echoes and Wahs
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Also known as "infinite flanging", this sonic illusion is similar to the
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technology. Flanging can also be accomplished using computer software.
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A similar "jet plane-like" effect can occur naturally in long distance
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291:. Another flanging instance on a rock-era pop recording occurs in
1031:"Authentic Tape Flanging in REAPER. - Cockos Incorporated Forums"
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and then added back to the original signal. This results in
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Diagram by Warren
Kendrick – 'K-Tel Reissue CD 10002 (1991)'
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850:"Music Software Review: Fix Flanger and Doubler by Softube"
626:(October 1984) "History of Electronic Sound Modification".
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Further development of the classic effect is attributed to
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1126:"Q. What's the difference between phasing and flanging?"
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effect: peaks and notches are produced in the resulting
30:"Flanger" redirects here. For the musical project, see
725:"Thru-Zero Flanger - Classic tape-flanging simulation"
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List of recordings with a prominent flanging effect
358:The first stereo flanging is credited to producer
370:" (1967). Kramer said in the 1990s that he read
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1179:A Scientific Explanation of Phasing (Flanging)
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226:Despite claims over who originated flanging,
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219:source, attributing the term to himself and
825:"50th Flashback #5: FL 201 Instant Flanger"
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981:"Azurite by Distorque - Chorus VST Plugin"
459:effect, and is equivalent to an auditory "
1676:Music technology (electronic and digital)
1066:"The Sonic Barber Pole: Shepard's Scale".
684:(New York: Harmony Books, 1988), page 70.
496:constructive and destructive interference
422:electronics made flanging possible using
337:Tape flanging effect on the 1967 single "
1232:, and does not reflect subsequent edits.
629:Journal of the Audio Engineering Society
567:Summer of Love: The Making of Sgt Pepper
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906:"Flanger [Analog Devices Wiki]"
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170:As an audio effect, a listener hears a
1151:"Blue Cat's Freeware Plug-ins Pack II"
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956:"TAL - Togu Audio Line: TAL-Effects"
385:Kendrick's setup to control flanging
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775:"Flanger Effect in Audacity - All"
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1517:Recording studio as an instrument
569:. London: Pan Books. p. 82.
482:Flanging is one specific type of
389:In 1968, the record producer for
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127:produced by mixing two identical
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349:Problems playing this file? See
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77:Problems playing this file? See
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682:The Beatles: Recording Sessions
593:Matt Monro: The Singer's Singer
478:of phasing and flanging effects
34:. For the railway vehicle, see
1104:"audio software by oli larkin"
467:Comparison with phase shifting
258:(ADT). According to historian
194:(rim) of the supply reel. The
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279:Others have attributed it to
1700:Record production portal
632:. Vol. 32, No. 10, p. 730. (
1671:Music technology (electric)
565:; Pearson, William (1994).
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418:In the 1970s, advances in
155:that creates this effect.
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1183:Audio Engineering Society
649:. Backbeat Books, p. 24.
256:automatic double tracking
854:filmandgamecomposers.com
372:BBC Radiophonic Workshop
135:. This produces a swept
590:Monro, Michele (2011).
374:journals for ideas and
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1190:Listen to this article
665:Lacasse, Serge (2004)
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451:"Barber pole" flanging
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1588:Ghostwriters in music
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695:Understanding Records
693:Hodgson, Jay (2010).
645:Thompson, Art (1997)
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1241:More spoken articles
1006:"Software Synthesis"
264:Tomorrow Never Knows
880:philippseifried.com
729:smartelectronix.com
634:Convenience archive
414:Artificial flanging
55:Example of flanging
1502:Hip hop production
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424:integrated circuit
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141:frequency spectrum
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36:Flanger (railroad)
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1106:. Olilarkin.co.uk
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703:978-1-4411-5607-5
362:, in the coda of
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323:– The Small Faces
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295:' 1967 single "
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535:Moiré pattern
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339:Itchycoo Park
324:
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321:Itchycoo Park
304:
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297:Itchycoo Park
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260:Mark Lewisohn
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213:George Martin
210:
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188:tape machines
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37:
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19:
1691:
1656:Loudness war
1623:Ghost singer
1598:Orchestrator
1593:Horn section
1476:Reverse echo
1445:
1436:Equalization
1406:Delay effect
1356:Punch in/out
1351:Ping-ponging
1319:Effects unit
1314:Effects loop
1304:Audio mixing
1294:Audio filter
1158:. Retrieved
1154:
1145:
1133:. Retrieved
1129:
1120:
1108:. Retrieved
1098:
1086:. Retrieved
1083:kvraudio.com
1082:
1073:
1061:
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1009:
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988:. Retrieved
985:kvraudio.com
984:
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934:
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909:
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888:. Retrieved
884:the original
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858:. Retrieved
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754:kvraudio.com
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627:
624:Bode, Harald
619:
607:. Retrieved
592:
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566:
511:
506:
504:
481:
476:Spectrograms
457:Shepard tone
454:
440:
417:
405:
399:
388:
368:Bold as Love
364:Jimi Hendrix
360:Eddie Kramer
357:
320:
278:
273:
267:
244:Ken Townsend
241:
235:" (1959) by
233:The Big Hurt
231:effect was "
225:
216:
203:
199:
195:
184:notch filter
179:
175:
171:
169:
157:
153:effects unit
148:
133:milliseconds
125:audio effect
86:
85:
27:Audio effect
1646:Click track
1630:Vocal coach
1573:Backup band
1553:professions
1527:Turntablism
1401:Compression
1386:Pitch shift
1346:Overdubbing
1286:Engineering
523:comb filter
517:or similar
515:white noise
461:barber pole
420:solid-state
237:Toni Fisher
221:John Lennon
217:reel flange
211:' producer
137:comb filter
1714:Categories
1578:Bandleader
1537:Xenochrony
1492:aesthetics
1456:Noise gate
1416:Distortion
1378:processing
1341:Microphone
1237:Audio help
1228:2007-09-14
1035:cockos.com
910:analog.com
804:google.com
546:References
391:the Litter
351:media help
301:Glyn Johns
198:or subtle
160:delay line
79:media help
1488:Practices
1391:Auto-Tune
1366:Tape loop
1336:Diffusion
1181:from the
1110:13 August
697:, p.142.
596:. Titan.
223:instead.
196:drainpipe
180:jet plane
172:drainpipe
1563:Arranger
1522:Sampling
1446:Flanging
1324:Talk box
1239: ·
1160:17 April
1135:17 April
1088:17 April
1040:17 April
1015:17 April
990:17 April
965:17 April
940:17 April
915:17 April
890:17 April
860:17 April
809:17 April
784:17 April
759:17 April
734:17 April
529:See also
428:Eventide
274:Revolver
269:Revolver
228:Les Paul
87:Flanging
1466:Pumping
1431:Ducking
1376:Signal
1226: (
1197:minutes
266:" from
209:Beatles
202:effect
149:flanger
129:signals
1666:Medley
1661:Mashup
1471:Reverb
1461:Phaser
1055:REAPER
834:20 May
701:
653:
609:25 May
600:
573:
204:sweeps
200:swoosh
192:flange
176:swoosh
166:Origin
151:is an
123:is an
1681:Remix
1639:Other
1549:Roles
1507:Lo-fi
1410:STEED
519:noise
444:phase
395:Ampex
1162:2017
1137:2017
1112:2012
1090:2017
1042:2017
1017:2017
992:2017
967:2017
942:2017
917:2017
892:2017
862:2017
836:2021
811:2017
786:2017
761:2017
736:2017
699:ISBN
651:ISBN
611:2022
598:ISBN
571:ISBN
400:both
366:'s "
1425:ADT
507:are
436:DSP
287:in
250:'s
248:EMI
178:or
174:or
1716::
1583:DJ
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116:ŋ
113:ɪ
107:n
104:æ
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