429:, the oil-can method uses a rotating disc of anodized aluminium coated with a suspension of carbon particles. An AC signal to a conductive neoprene wiper transfers the charge to the high impedance disc. As the particles pass by the wiper, they act as thousands of tiny capacitors, holding a small part of the charge. A second wiper reads this representation of the signal, and sends it to a voltage amplifier that mixes it with the original source. To protect the charge held by the particles and to lubricate the entire assembly, the disc runs inside a sealed can with enough of a special
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863:. The effect was produced by re-feeding the output signal from the playback head tape recorder to its record head. The physical space between heads, the speed of the tape, and the chosen volume being the main controlling factors. Analog and later digital delay machines also easily produced the effect. It is also sometimes used on instruments, particularly
474:
410:) as its storage medium. This provided an advantage over tape, as the durable drums were able to last for many years with little deterioration in the audio quality. In later years, tape delay effects remained popular for the way the tape compresses and distorts, "creating the impression that the echoes are receding rather than just getting quieter".
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646:-based delay systems. In large part, this coincided with the popularity of audio editing software. Software delays, in many cases, offer much greater flexibility than even the most recent digital hardware delays. Software implementations may offer shifting or random delay times, or the insertion of other audio effects in the feedback path. Many
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is the early name for a sound processing device used with electronic instruments to repeat the sound and produce a simulated echo. The time between echo repeats was adjusted by varying head position or tape speed. The length or intensity of the echo effect was adjusted by changing the amount of echo
749:. By feeding some of the delayed audio back into the delay mechanism, multiple repeats of the audio are heard. At low feedback settings, each repeat fades in volume. High levels of feedback can cause the level of the output to rapidly increase, becoming louder and louder; this may be managed using a
670:
uses delay while he plays arpeggios on electric guitar, thus creating a sustained, synth pad-like background. Vocalists and instrumentalists use delay to add a dense or ethereal quality to their singing or playing. Extremely long delays of 10 seconds or more are often used to create loops of a whole
563:
Digital delays present an extensive array of options, including control over the time before playback of the delayed signal. Most also allow the user to select the overall level of the processed signal in relation to the unmodified one, or the level at which the delayed signal is fed back into the
440:
Many different companies marketed these devices under various names. Fender sold the
Dimension IV, the Variable Delay, the Echo-Reverb I, II, and III, and included an oil can in their Special Effects box. Gibson sold the GA-4RE from 1965–67. Ray Lubow himself sold many different versions under the
920:
through the air. Unlike audio delay effects devices, straight delay is not mixed back in with the original signal. The delayed signal alone is sent to loudspeakers so that the speakers distant from the stage will reinforce the stage sound at the same time or slightly later than the acoustic sound
436:
The effect resembles an echo, but the whimsical nature of the storage medium causes variations in the sound that can be heard as a vibrato effect. Some early models featured control circuitry designed to feed the output of the read wiper to the write wiper, causing a reverberant effect as well.
461:(BBD) was developed at Philips in 1969. Delay effects utilizing this technology eventually became available. Notable examples include the Memory Man from Electro-Harmonix, released in 1976 and the Boss DM-2 released in 1981. BBD-based devices offered a convenient alternative to tape delays and
602:
and then play over it, they were challenging to work with. The
Paradis Loop Delay, created in 1992, was the first unit with dedicated looping functions such as record, overdub, multiply, insert, and replace, which made it more intuitive and user-friendly.
896:
are all delay-based sound effects. With flanging and chorus, the delay time is very short and usually modulated. With reverberation, there are multiple delays and feedback so that individual echoes are blurred together, recreating the sound of an
1763:
979:
363:
In the
Echoplex EP-2, the play head position was fixed, while a combination record and erase head was mounted on a slide, thus the delay time of the echo was adjusted by changing the distance between the record and play heads.
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offered a 16-second delay and looping machine. Eventually, as costs came down further and the electronics grew smaller, they became available in the form of foot pedals. The first digital delay offered in a pedal was the
67:-like effect, whereby the original audio is heard followed by the delayed audio. The delayed signal may be played back multiple times, or fed back into the recording, to create the sound of a repeating, decaying echo.
375:, and made the units more reliable and easy to transport. It was more reliable and sturdy than previous tape echo devices, making it easy to travel and perform with. It has been used by musicians in genres such as
343:
as their recording and playback medium. Electric motors guide a tape loop through a device with a variety of mechanisms allowing modification of the effect's parameters. Popular models include Ray Butts'
229:, additional controls, and additional tape heads. Different effects could be created by enabling different combinations of playback heads. By adjusting the controls and tape speed, musicians could create
441:
Tel-Ray/Morley brand, starting out in the early sixties with the Ad-n-echo, and eventually producing the Echo-ver-brato, the
Electrostatic Delay Line, and many others into the eighties.
801:(outputs) are taken from a delay buffer, each with independent times and levels, and summed with the original signal. Multi-tap delays can be used to create rhythmic patterns or dense,
556:
DD-2 in 1984. Rack-mounted delay units evolved into digital reverb units and on to digital multi-effects units capable of more sophisticated effects than pure delay, such as reverb and
123:, who had sometimes devised elaborate systems involving long tapes and multiple recorders and playback systems, collectively processing the input of a live performer or ensemble.
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to align sound with visual media (e.g., on TV or web broadcasting), if the visual source is delayed. Visual media can become delayed by a number of mechanisms or reasons such as
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that all sound originates from the stage. The purpose is to deliver sufficient sound volume to the back of the venue without resorting to excessive sound volumes near the front.
617:
487:
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719:-like effect, whereby the original audio is heard followed by the delayed audio. The delayed signal may be treated separately from the input audio - for example, with an
304:
space, often an inconvenience for musicians and engineers. The demand for an easy-to-use real-time echo effect led to the production of systems offering an all-in-one
527:
Digital delay effects were initially available as expensive rack-mounted units intended for use in television and audio production studios. One of the first was the
1273:
1233:
616:
486:
3212:
2018:
1829:
175:
Tape echoes became commercially available in the 1950s. Tape echo machines contain loops of tape that pass over a record head and then a playback head. An
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was a pioneer of the echoplex. Perhaps the earliest indication of his use can be heard on the songs "Would You
Believe Me" and "The Ocean" on the album
547:
2290 offered more than three seconds of delay time, enough to create background loops, rhythms, and phrases. The 2290 was upgradeable to 32 seconds and
316:) made it possible to have delays at varying rhythmic intervals; this allowed musicians an additional means of expression over natural periodic echoes.
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High levels of feedback can cause the level of the output to rapidly increase (self-oscillation), becoming louder and louder; this may be managed with
2627:
2536:
662:
In popular and electronic music, electric guitarists use delay to produce densely overlaid textures of notes with rhythms complementary to the music.
398:
Thin magnetic tape was not entirely suited for continuous operation, however, so the tape loop has to be replaced from time to time to maintain the
1122:. At an air temperature of 20 °C (68 °F), one meter of sound travel takes 2.92 milliseconds, and one foot of sound travel takes 0.888 ms.
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from the stage. The delayed signal uses approximately 1 millisecond of straight delay per foot of air or 3 milliseconds per meter. Because of the
557:
226:
206:
which uses a tape loop. The length of delay is adjusted by changing the distance between the tape record and playback heads. Another is the
70:
Delay effects range from a subtle echo effect to a pronounced blending of previous sounds with new sounds. Delay effects can be created using
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1978:
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is produced by adding short delay to a recorded sound. Delays of thirty to fifty milliseconds are the most common; longer delay times become
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978:
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technique that records an input signal to a storage medium and then plays it back after a period of time. When the delayed playback is
726:
Most delay effects allow users to set the delay time, or the amount of time between each audio playback. The may be synchronized to a
707:
Block diagram of the signal-flow for a typical simple delay-line, tied to an electric guitar. Dotted line indicates options component.
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160:, "The character and depth of sound that was produced from tape echo on these old records is extremely lush, warm and wide."
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925:, this technique allows audio engineers to use additional speaker systems placed away from the stage and still give the
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reel-to-reel tape recorders to achieve very long delay times for solo guitar performance. He dubbed this technology "
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Rob Bowman. "Phillips, Sam." Grove Music Online. Oxford Music Online. Oxford
University Press. Web. 20 Jul. 2016.
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109:, the nature of the delayed echo could be controlled. This technique was most common among early composers of
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of some of the delayed audio back into the buffer, multiple repeats of the audio are created. The delayed (
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1930:
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Before the invention of audio delay technology, music employing an echo had to be recorded in a naturally
191:. It is a portable guitar amplifier with a built-in tape echo, which became used widely in country music (
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over the next year and a half, all of which featured a novel production technique that
Phillips termed
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memory, to be repeated again. Some systems allow more exotic controls, such as the ability to add an
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uses a delay time of 60 to 250 milliseconds with little or no feedback. A slapback delay creates a
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that could be adjusted to produce echoes of any interval or amplitude. The presence of multiple
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1974:
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A short passage on flute, before and after the application of a multi-tap, multi-channel delay
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refined the tape delay to make it more reliable and robust, with reduced tape wear and noise,
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Analog effects units were introduced in the 1970s; digital effects pedals in 1984; and
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have added functionality to emulate the sounds of the earlier analog units. Abundant
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A short spoken passage, followed by the same passage processed using various delays
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A natural development from digital delay-processing hardware was the appearance of
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948:, in which case the associated audio must be delayed to match the visual content.
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In a ping-pong delay, the delayed signal alternates between the two channels of a
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simulation of an analog delay (EHX Memory Man) with modulation and pitch shift on
1022:
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manufactured a slightly improved version as the
Echoplex Digital Pro until 2006.
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While the early delay units with a long delay capacity could be used to record a
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used a rotating magnetic drum or disc (not entirely unlike those used in modern
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simulation of an analog delay (EHX Memory Man) with modulation and pitch shift
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Dedicated machines for creating tape loops were introduced One example is the
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17:
1105:
Increasing the feedback of a slapback effect can create a sound similar to a
535:
DMX 15-80 of 1978. As digital memory became cheaper in the 1980s, units like
74:, an approach developed in the 1940s and 1950s and used by artists including
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150:, and became one of Phillips' signatures. Guitarist and instrument designer
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1175:
Leap of Faith: A Personal
Biography of Karlheinz Stockhausen's Prozession
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systems. By shortening or lengthening the loop of tape and adjusting the
1945:"Frippertronics: how Robert Fripp and Brian Eno brought looping to life"
422:
method, which uses electrostatic rather than electromagnetic recording.
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2906:
2291:
1093:
750:
473:
1944:
820:. Mixing the original and delayed sounds creates an effect similar to
825:
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765:
the sound without creating a perceptible echo and can be used to add
531:
DDL 1745 from 1971. Another popular rack-mount digital delay was the
500:
Digital delay systems function by sampling the input signal using an
478:
376:
138:
350 tape recorders in 1954. The effect was used by artists including
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2107:
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3197:
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702:
676:
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585:
484:
472:
448:
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716:
715:. Blending the delayed audio with the original audio creates an
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64:
2574:
2111:
1061: – The practice of intentionally delaying a live broadcast
2764:
1652:"Boss Enters a New Age of Space Echo with the RE-2 and RE-202"
233:
and oscillated effects. The RE-201 was used by acts including
1004:
958:
3106:
2443:
734:. Delay is used to create other effects, including reverb,
663:
433:
oil to assure that an even coating is applied as it spins.
280:. Digital delay effects were developed with the arrival of
2071:"Why Wait? The Where, How & Why Of Delay Loudspeakers"
465:
but were eventually largely supplanted by digital delays.
508:
and recalled from the buffer a short time later. Through
843:
effect. The effect is characteristic of vocals on 1950s
777:
or Haas effect, after the German scientist Helmut Haas.
773:(layering two performances). The effect is known as the
1440:
Hunter, Dave (April 2012). "The Ray Butts EchoSonic".
1224:"How Sam Phillips invented the sound of rock and roll"
745:
Delay effects typically allow users to add and adjust
654:
on modern personal computers offers ample delay time.
180:
signal was fed back into the signal recorded to tape.
761:
Short delays (50 ms or less) create a sense of
339:
Delay processors based on analog tape recording use
154:
was an early pioneer in delay devices. According to
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2720:
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2499:
2406:
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2145:
1465:, Sorkin/Ace Tone, 1969, p. 16, archived from
1906:"How the Gibson / Oberheim Echoplex Came Together"
504:. The resulting digital audio is passed through a
260:created "lo-fi sci-fi" effects by using delay and
1118:Depending on the air temperature's effect on the
1529:"NAMM Oral History Interviews: Charles Watkins"
1396:Dregni, Michael (July 2012). "Echoplex EP-2".
2586:
2123:
418:An alternative echo system was the so-called
8:
1851:"50th Flashback #2.1: The DDL Digital Delay"
851:produced the first of five 78s and 45s that
97:The first delay effects were achieved using
3213:Professional Lighting and Sound Association
1681:. Archived from the original on 2007-10-20.
1484:"Creating dub delays with standard plugins"
1147:. Archived from the original on 2003-04-02.
520:) signal after, or before, it is sent to a
516:) output may be mixed with the unmodified (
2803:Comparison of analog and digital recording
2593:
2579:
2571:
2130:
2116:
2108:
1799:"A brief history of bucket-brigade delays"
1761:, Raymond Lubow, "Delay apparatus"
1613:
1611:
1609:
1258:
1256:
1254:
1252:
1250:
683:", and used it in a number of recordings.
256:producers used delay effects extensively;
2537:Music technology (electronic and digital)
2009:"Creating and using custom delay effects"
1820:"Creating and using custom delay effects"
1732:
1730:
1391:
1389:
1292:
1290:
217:, introduced in 1973, Japanese engineer
1135:
1076:
730:, allowing users to set time values as
558:audio time stretching and pitch scaling
453:1976 analog solid-state delay schematic
371:system to reduce tape wear, noise, and
2091:"Speaker Delay: What You Need to Know"
1684:
1264:"The ultimate guide to effects: delay"
1150:
1037:
992:
3274:New Interfaces for Musical Expression
2050:"More Creative Synthesis With Delays"
2002:
2000:
1998:
1996:
1994:
1992:
1990:
1871:"AMS DMX 15-80s Stereo Digital Delay"
711:Delay effects add a time delay to an
7:
1217:
1215:
875:Flanging, chorus effect, and reverb
367:The Space Echo uses a free-running
195:) and especially in rock and roll (
63:with the live audio, it creates an
1779:"The Technology of Oil Can Delays"
131:
25:
2823:Reel-to-reel audio tape recording
2378:Recording studio as an instrument
1618:Dregni, Michael (December 2014).
1581:Dregni, Michael (December 2014).
638:Steve Harris' Delayorama software
103:reel-to-reel audio tape recording
3292:
2554:
1038:Problems playing this file? See
1020:
993:Problems playing this file? See
974:
568:and modulate the playback rate.
34:
2808:Experimental musical instrument
2021:from the original on 2016-06-28
1832:from the original on 2016-06-28
1494:from the original on 2020-10-22
1375:from the original on 2017-05-12
1343:from the original on 2014-09-10
1276:from the original on 2015-09-08
1236:from the original on 2016-08-18
1201:from the original on 2018-01-29
932:Straight delay is also used in
797:In a multi-tap delay, multiple
2069:Mike Sokol (January 8, 2018).
934:audio to video synchronization
1:
2993:Electronic musical instrument
1554:Inglis, Sam (February 2021).
402:of the processed sounds. The
3299:Record production portal
3188:Institute of Broadcast Sound
2561:Record production portal
2093:. Gearsupply. April 30, 2021
1706:White, Paul (October 2007).
3208:Musical Electronics Library
2532:Music technology (electric)
1518:Retrieved on July 30, 2006.
1419:. Hal Leonard. p. 37.
1189:"Sam Phillips: Sun Records"
914:sound reinforcement systems
695:released in February 1970.
590:Gibson Echoplex Digital Pro
522:digital-to-analog converter
502:analog-to-digital converter
334:reel-to-reel tape recorders
332:used standard and modified
3360:
3344:Sound reinforcement system
2955:Sound reinforcement system
2864:Sound reinforcement system
2048:Reid, Gordon (June 2004).
1650:Brakes, Rod (2022-03-24).
1361:Haas, Will (August 2007).
1222:Blitz, Matt (2016-08-15).
1145:"Effects Explained: Delay"
575:
324:Early experiments such as
183:A landmark device was the
3288:
3178:Audio Engineering Society
3076:Software effect processor
3056:Digital audio workstation
2897:Digital signal processing
2661:Digital audio workstation
2550:
2007:Smith, Geoff (May 2012).
1818:Smith, Geoff (May 2012).
1691:: CS1 maint: unfit URL (
1157:: CS1 maint: unfit URL (
326:send tape echo echo delay
3269:Professional audio store
3171:People and organizations
3157:Sound recording engineer
1716:. SOS Publications Group
1562:. SOS Publications Group
1413:Milano, Dominic (1988).
1363:"Tape delay in your DAW"
167:The tape mechanism of a
119:, and composers such as
2687:Microphone preamplifier
1620:"The Roland Space Echo"
1583:"The Roland Space Echo"
1556:"Wavesfactory Echo Cat"
1299:"The Roland Space Echo"
1083:Union Carbide UCON lb65
847:records. In July 1954,
252:In the 1970s, Jamaican
142:(such as on his track "
89:software in the 2000s.
57:audio signal processing
2628:Electronic and digital
1931:Sony Pictures Classics
1908:. Loopers-Delight.com.
1893:. Loopers-Delight.com.
1514:Vintage Synth Explorer
1172:Gehlaar, Rolf (1998),
1143:Lehman, Scott (1996).
1009:
963:
916:to compensate for the
708:
639:
631:
591:
497:
482:
459:bucket-brigade devices
454:
297:
172:
2449:Ghostwriters in music
1971:Understanding Records
1969:Hodgson, Jay (2010).
1512:"RE-201 Space Echo",
1459:Ace Tone Catalog 1969
1416:Multi-Track Recording
1331:"Les Paul Remembered"
1008:
962:
706:
637:
621:
589:
491:
476:
452:
295:
166:
144:Blue Moon of Kentucky
121:Karlheinz Stockhausen
3086:Software synthesizer
3051:Digital audio editor
2837:Playback transducers
2697:Multitrack recording
1891:"Paradis Loop Delay"
1737:Scott (2007-08-11).
1677:Studholme, Richard.
938:time base correction
918:propagation of sound
276:introduced delay to
264:on a mixing console
107:read-and-write heads
1923:(director) (2008).
1535:. NAMM. 16 May 2008
622:Sound example of a
492:Sound example of a
336:to produce delay.
210:EC-1 Echo Chamber.
45:digital delay pedal
3137:Re-recording mixer
2940:Keyboard amplifier
2656:Binaural recording
2363:Hip hop production
1065:Digital delay line
1010:
964:
709:
640:
632:
592:
498:
483:
455:
330:Abbey Road Studios
298:
272:producers such as
173:
126:American producer
3306:
3305:
3112:Guitar technician
3008:Music workstation
2892:Digital recording
2869:Speaker enclosure
2788:8-track cartridge
2730:Phonograph record
2568:
2567:
2170:Critical distance
1980:978-1-4411-5607-5
1926:It Might Get Loud
1679:"A brief History"
1446:. pp. 46–48.
1426:978-0-88188-552-1
1402:. pp. 54–56.
1297:Dregni, Michael.
1229:Popular Mechanics
1054:Analog delay line
1025:
980:
855:would release on
775:precedence effect
619:
611:Computer software
600:chord progression
489:
445:Solid-state delay
393:experimental rock
358:Roland Space Echo
282:digital recording
258:Lee Scratch Perry
219:Ikutaro Kakehashi
187:made by American
16:(Redirected from
3351:
3297:
3296:
3295:
3183:Goji Electronics
3122:Monitor engineer
3081:Software sampler
2988:Electronic drums
2965:Electronic music
2935:Guitar amplifier
2780:Analog recording
2740:Compact cassette
2702:Music production
2610:Music technology
2602:Music technology
2595:
2588:
2581:
2572:
2559:
2558:
2557:
2474:Session musician
2139:Music production
2132:
2125:
2118:
2109:
2102:
2101:
2099:
2098:
2087:
2081:
2080:
2078:
2077:
2066:
2060:
2059:
2045:
2039:
2036:
2030:
2029:
2027:
2026:
2004:
1985:
1984:
1966:
1960:
1959:
1957:
1956:
1941:
1935:
1934:
1921:Davis Guggenheim
1916:
1910:
1909:
1901:
1895:
1894:
1887:
1881:
1880:
1878:
1877:
1867:
1861:
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1837:
1815:
1809:
1808:
1806:
1805:
1795:
1789:
1788:
1786:
1785:
1774:
1768:
1767:
1766:
1762:
1755:
1749:
1748:
1746:
1745:
1739:"Oil Can Delays"
1734:
1725:
1724:
1722:
1721:
1703:
1697:
1696:
1690:
1682:
1674:
1668:
1667:
1665:
1664:
1647:
1641:
1640:
1638:
1637:
1628:. Archived from
1615:
1604:
1603:
1601:
1600:
1591:. Archived from
1578:
1572:
1571:
1569:
1567:
1560:soundonsound.com
1551:
1545:
1544:
1542:
1540:
1525:
1519:
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1499:
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1471:
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1410:
1404:
1403:
1393:
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1383:
1381:
1380:
1358:
1352:
1351:
1349:
1348:
1326:
1320:
1319:
1317:
1316:
1307:. Archived from
1294:
1285:
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1282:
1281:
1260:
1245:
1244:
1242:
1241:
1219:
1210:
1209:
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1140:
1123:
1116:
1110:
1103:
1097:
1090:
1084:
1081:
1027:
1026:
1016:Delay effect (2)
1007:
982:
981:
970:Delay effect (1)
961:
671:musical phrase.
648:software plugins
620:
549:Electro-Harmonix
490:
481:DE-7 delay pedal
408:hard-disk drives
278:electronic music
134:effect with two
117:Pierre Schaeffer
112:musique concrète
38:
27:Echo-like effect
21:
3359:
3358:
3354:
3353:
3352:
3350:
3349:
3348:
3339:Sound recording
3309:
3308:
3307:
3302:
3293:
3291:
3284:
3232:
3166:
3132:Record producer
3117:Mixing engineer
3090:
3037:
3003:MIDI controller
2978:Circuit bending
2959:
2901:
2878:
2854:Monitor speaker
2832:
2774:
2722:Recording media
2716:
2707:Music sequencer
2692:Monitor speaker
2638:Sound recording
2632:
2604:
2599:
2569:
2564:
2555:
2553:
2546:
2495:
2464:Record producer
2417:
2413:
2402:
2356:
2352:
2341:
2282:Double tracking
2238:
2231:
2222:Sound recording
2160:Audio mastering
2141:
2136:
2106:
2105:
2096:
2094:
2089:
2088:
2084:
2075:
2073:
2068:
2067:
2063:
2047:
2046:
2042:
2037:
2033:
2024:
2022:
2006:
2005:
1988:
1981:
1973:. p. 124.
1968:
1967:
1963:
1954:
1952:
1943:
1942:
1938:
1918:
1917:
1913:
1904:Matthias Grob.
1903:
1902:
1898:
1889:
1888:
1884:
1875:
1873:
1869:
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1864:
1855:
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1801:
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1783:
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1662:
1660:
1649:
1648:
1644:
1635:
1633:
1617:
1616:
1607:
1598:
1596:
1580:
1579:
1575:
1565:
1563:
1553:
1552:
1548:
1538:
1536:
1527:
1526:
1522:
1510:
1506:
1497:
1495:
1488:Attack Magazine
1482:
1481:
1477:
1469:
1462:
1456:
1455:
1451:
1439:
1438:
1434:
1427:
1412:
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1344:
1328:
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1323:
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1312:
1296:
1295:
1288:
1279:
1277:
1272:. 7 June 2011.
1262:
1261:
1248:
1239:
1237:
1221:
1220:
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1204:
1202:
1187:
1186:
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1149:
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1127:
1126:
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1113:
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1100:
1091:
1087:
1082:
1078:
1073:
1059:Broadcast delay
1050:
1045:
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1036:
1034:
1033:
1032:
1031:
1028:
1021:
1018:
1011:
1005:
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989:
988:
987:
986:
983:
975:
972:
965:
959:
954:
907:
877:
834:
811:
805:-like effects.
795:
783:
781:Ping-pong delay
771:double-tracking
759:
701:
660:
615:
613:
584:
574:
485:
471:
463:leslie speakers
447:
416:
373:wow and flutter
356:(1959) and the
350:Watkins Copicat
322:
290:
95:
50:
49:
48:
47:
46:
39:
28:
23:
22:
15:
12:
11:
5:
3357:
3355:
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3346:
3341:
3336:
3331:
3326:
3321:
3311:
3310:
3304:
3303:
3289:
3286:
3285:
3283:
3282:
3277:
3271:
3266:
3261:
3256:
3251:
3246:
3240:
3238:
3237:Related topics
3234:
3233:
3231:
3230:
3225:
3220:
3215:
3210:
3205:
3200:
3195:
3193:Lejaren Hiller
3190:
3185:
3180:
3174:
3172:
3168:
3167:
3165:
3164:
3159:
3154:
3152:Sound operator
3149:
3147:Sound follower
3144:
3142:Sound designer
3139:
3134:
3129:
3124:
3119:
3114:
3109:
3104:
3102:Audio engineer
3098:
3096:
3092:
3091:
3089:
3088:
3083:
3078:
3073:
3068:
3063:
3058:
3053:
3047:
3045:
3039:
3038:
3036:
3035:
3030:
3025:
3020:
3015:
3010:
3005:
3000:
2995:
2990:
2985:
2980:
2975:
2969:
2967:
2961:
2960:
2958:
2957:
2952:
2947:
2942:
2937:
2932:
2927:
2922:
2920:Bass amplifier
2917:
2915:Mixing console
2911:
2909:
2903:
2902:
2900:
2899:
2894:
2888:
2886:
2880:
2879:
2877:
2876:
2871:
2866:
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2800:
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2757:
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2747:
2742:
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2732:
2726:
2724:
2718:
2717:
2715:
2714:
2709:
2704:
2699:
2694:
2689:
2684:
2679:
2674:
2669:
2664:
2658:
2653:
2651:Mixing console
2648:
2642:
2640:
2634:
2633:
2631:
2630:
2625:
2620:
2614:
2612:
2606:
2605:
2600:
2598:
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2590:
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2575:
2566:
2565:
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2548:
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2544:
2539:
2534:
2529:
2524:
2519:
2514:
2509:
2503:
2501:
2497:
2496:
2494:
2493:
2488:
2487:
2486:
2476:
2471:
2469:Rhythm section
2466:
2461:
2456:
2451:
2446:
2441:
2436:
2431:
2429:Audio engineer
2426:
2420:
2418:
2416:
2415:
2411:
2407:
2404:
2403:
2401:
2400:
2395:
2390:
2385:
2380:
2375:
2373:Overproduction
2370:
2365:
2359:
2357:
2355:
2354:
2350:
2346:
2343:
2342:
2340:
2339:
2334:
2329:
2324:
2319:
2314:
2309:
2304:
2302:Exciter effect
2299:
2294:
2289:
2279:
2274:
2264:
2259:
2254:
2249:
2243:
2241:
2233:
2232:
2230:
2229:
2224:
2219:
2214:
2209:
2204:
2199:
2194:
2193:
2192:
2187:
2177:
2172:
2167:
2162:
2157:
2151:
2149:
2143:
2142:
2137:
2135:
2134:
2127:
2120:
2112:
2104:
2103:
2082:
2061:
2055:Sound on Sound
2040:
2031:
2014:Sound on Sound
1986:
1979:
1961:
1936:
1911:
1896:
1882:
1862:
1842:
1825:Sound on Sound
1810:
1790:
1769:
1750:
1726:
1713:Sound on Sound
1698:
1669:
1642:
1625:Vintage Guitar
1605:
1588:Vintage Guitar
1573:
1546:
1520:
1504:
1490:. 2020-08-20.
1475:
1449:
1443:Vintage Guitar
1432:
1425:
1405:
1399:Vintage Guitar
1385:
1368:Sound on Sound
1353:
1336:Vintage Guitar
1329:Meeker, Ward.
1321:
1304:Vintage Guitar
1286:
1246:
1211:
1194:Sound on Sound
1180:
1164:
1134:
1133:
1131:
1128:
1125:
1124:
1120:speed of sound
1111:
1098:
1085:
1075:
1074:
1072:
1069:
1068:
1067:
1062:
1056:
1049:
1046:
1035:
1029:
1019:
1014:
1013:
1012:
1003:
1002:
1001:
990:
984:
973:
968:
967:
966:
957:
956:
955:
953:
950:
910:Straight delay
906:
905:Straight delay
903:
899:acoustic space
876:
873:
833:
830:
822:doubletracking
810:
807:
794:
791:
782:
779:
758:
755:
732:beat divisions
700:
697:
681:Frippertronics
659:
656:
612:
609:
573:
570:
470:
467:
446:
443:
415:
412:
404:Binson Echorec
400:audio fidelity
369:tape transport
321:
318:
314:playback heads
289:
286:
231:pitch-shifting
157:Sound on Sound
101:improvised on
94:
91:
40:
33:
32:
31:
30:
29:
26:
24:
18:Straight delay
14:
13:
10:
9:
6:
4:
3:
2:
3356:
3345:
3342:
3340:
3337:
3335:
3334:Music looping
3332:
3330:
3329:Effects units
3327:
3325:
3322:
3320:
3319:Audio effects
3317:
3316:
3314:
3301:
3300:
3287:
3281:
3280:Vehicle audio
3278:
3275:
3272:
3270:
3267:
3265:
3262:
3260:
3257:
3255:
3252:
3250:
3249:High fidelity
3247:
3245:
3242:
3241:
3239:
3235:
3229:
3226:
3224:
3221:
3219:
3216:
3214:
3211:
3209:
3206:
3204:
3201:
3199:
3196:
3194:
3191:
3189:
3186:
3184:
3181:
3179:
3176:
3175:
3173:
3169:
3163:
3160:
3158:
3155:
3153:
3150:
3148:
3145:
3143:
3140:
3138:
3135:
3133:
3130:
3128:
3125:
3123:
3120:
3118:
3115:
3113:
3110:
3108:
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3103:
3100:
3099:
3097:
3093:
3087:
3084:
3082:
3079:
3077:
3074:
3072:
3069:
3067:
3064:
3062:
3059:
3057:
3054:
3052:
3049:
3048:
3046:
3044:
3040:
3034:
3031:
3029:
3026:
3024:
3021:
3019:
3016:
3014:
3011:
3009:
3006:
3004:
3001:
2999:
2996:
2994:
2991:
2989:
2986:
2984:
2981:
2979:
2976:
2974:
2971:
2970:
2968:
2966:
2962:
2956:
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2933:
2931:
2928:
2926:
2923:
2921:
2918:
2916:
2913:
2912:
2910:
2908:
2904:
2898:
2895:
2893:
2890:
2889:
2887:
2885:
2884:Digital audio
2881:
2875:
2872:
2870:
2867:
2865:
2862:
2860:
2857:
2855:
2852:
2850:
2847:
2845:
2842:
2841:
2839:
2835:
2829:
2828:Tape recorder
2826:
2824:
2821:
2819:
2816:
2814:
2811:
2809:
2806:
2804:
2801:
2799:
2798:Cassette deck
2796:
2794:
2791:
2789:
2786:
2785:
2783:
2781:
2777:
2771:
2768:
2766:
2763:
2761:
2758:
2756:
2753:
2751:
2748:
2746:
2743:
2741:
2738:
2736:
2735:Magnetic tape
2733:
2731:
2728:
2727:
2725:
2723:
2719:
2713:
2712:Outboard gear
2710:
2708:
2705:
2703:
2700:
2698:
2695:
2693:
2690:
2688:
2685:
2683:
2680:
2678:
2675:
2673:
2670:
2668:
2665:
2662:
2659:
2657:
2654:
2652:
2649:
2647:
2646:Audio channel
2644:
2643:
2641:
2639:
2635:
2629:
2626:
2624:
2621:
2619:
2616:
2615:
2613:
2611:
2607:
2603:
2596:
2591:
2589:
2584:
2582:
2577:
2576:
2573:
2563:
2562:
2549:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2523:
2520:
2518:
2515:
2513:
2512:Interpolation
2510:
2508:
2505:
2504:
2502:
2498:
2492:
2489:
2485:
2482:
2481:
2480:
2479:Backup singer
2477:
2475:
2472:
2470:
2467:
2465:
2462:
2460:
2457:
2455:
2452:
2450:
2447:
2445:
2442:
2440:
2437:
2435:
2432:
2430:
2427:
2425:
2422:
2421:
2419:
2412:
2409:
2408:
2405:
2399:
2396:
2394:
2393:Wall of Sound
2391:
2389:
2386:
2384:
2381:
2379:
2376:
2374:
2371:
2369:
2366:
2364:
2361:
2360:
2358:
2351:
2348:
2347:
2344:
2338:
2335:
2333:
2330:
2328:
2325:
2323:
2320:
2318:
2315:
2313:
2312:Octave effect
2310:
2308:
2305:
2303:
2300:
2298:
2295:
2293:
2290:
2287:
2283:
2280:
2278:
2275:
2272:
2268:
2265:
2263:
2260:
2258:
2257:Chorus effect
2255:
2253:
2250:
2248:
2245:
2244:
2242:
2240:
2234:
2228:
2225:
2223:
2220:
2218:
2215:
2213:
2210:
2208:
2205:
2203:
2200:
2198:
2195:
2191:
2190:Wah-wah pedal
2188:
2186:
2183:
2182:
2181:
2178:
2176:
2173:
2171:
2168:
2166:
2163:
2161:
2158:
2156:
2153:
2152:
2150:
2148:
2144:
2140:
2133:
2128:
2126:
2121:
2119:
2114:
2113:
2110:
2092:
2086:
2083:
2072:
2065:
2062:
2057:
2056:
2051:
2044:
2041:
2035:
2032:
2020:
2016:
2015:
2010:
2003:
2001:
1999:
1997:
1995:
1993:
1991:
1987:
1982:
1976:
1972:
1965:
1962:
1950:
1946:
1940:
1937:
1932:
1928:
1927:
1922:
1915:
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1900:
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1863:
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1814:
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1773:
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1760:
1754:
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1740:
1733:
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1715:
1714:
1709:
1702:
1699:
1694:
1688:
1680:
1673:
1670:
1659:
1658:
1657:Guitar Player
1653:
1646:
1643:
1632:on 2015-09-05
1631:
1627:
1626:
1621:
1614:
1612:
1610:
1606:
1595:on 2015-09-05
1594:
1590:
1589:
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1574:
1561:
1557:
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1472:on 2014-05-12
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1311:on 2015-09-05
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1115:
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1108:
1107:spring reverb
1102:
1099:
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1077:
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942:video scaling
939:
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900:
895:
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889:
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883:
882:
874:
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870:
866:
862:
861:slapback echo
858:
854:
853:Elvis Presley
850:
846:
842:
838:
837:Slapback echo
832:Slapback echo
831:
829:
828:performance.
827:
823:
819:
818:slapback echo
815:
814:Doubling echo
809:Doubling echo
808:
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800:
792:
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764:
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692:Stormbringer!
688:
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669:
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658:Artistic uses
657:
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546:
545:TC Electronic
542:
538:
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530:
525:
523:
519:
515:
511:
507:
506:memory buffer
503:
495:
480:
475:
469:Digital delay
468:
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460:
451:
444:
442:
438:
434:
432:
428:
423:
421:
420:oil-can delay
413:
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352:(1958), the
351:
347:
342:
341:magnetic tape
337:
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331:
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319:
317:
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311:
307:
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296:Echoplex EP-2
294:
287:
285:
283:
279:
275:
274:Basic Channel
271:
267:
263:
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250:
248:
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220:
216:
215:Roland RE-201
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181:
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170:
169:Roland RE-201
165:
161:
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149:
145:
141:
140:Elvis Presley
137:
133:
132:slapback echo
129:
124:
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118:
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108:
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100:
92:
90:
88:
87:audio plug-in
83:
81:
77:
76:Elvis Presley
73:
68:
66:
62:
58:
54:
44:
37:
19:
3324:Broadcasting
3290:
3023:Sound module
2983:Drum machine
2925:Effects unit
2818:Player piano
2745:Compact disc
2667:Effects unit
2552:
2517:Loudness war
2484:Ghost singer
2459:Orchestrator
2454:Horn section
2337:Reverse echo
2297:Equalization
2267:Delay effect
2266:
2217:Punch in/out
2212:Ping-ponging
2180:Effects unit
2175:Effects loop
2165:Audio mixing
2155:Audio filter
2095:. Retrieved
2085:
2074:. Retrieved
2064:
2053:
2043:
2034:
2023:. Retrieved
2012:
1970:
1964:
1953:. Retrieved
1951:. 2022-08-06
1948:
1939:
1924:
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1899:
1885:
1874:. Retrieved
1865:
1854:. Retrieved
1845:
1834:. Retrieved
1823:
1813:
1802:. Retrieved
1793:
1782:. Retrieved
1772:
1753:
1742:. Retrieved
1718:. Retrieved
1711:
1701:
1672:
1661:. Retrieved
1655:
1645:
1634:. Retrieved
1630:the original
1623:
1597:. Retrieved
1593:the original
1586:
1576:
1564:. Retrieved
1559:
1549:
1537:. Retrieved
1532:
1523:
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1507:
1496:. Retrieved
1487:
1478:
1467:the original
1458:
1452:
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1408:
1397:
1377:. Retrieved
1366:
1356:
1345:. Retrieved
1334:
1324:
1313:. Retrieved
1309:the original
1302:
1278:. Retrieved
1267:
1238:. Retrieved
1227:
1203:. Retrieved
1192:
1183:
1174:
1167:
1138:
1114:
1101:
1088:
1079:
946:framebuffers
931:
909:
908:
891:
885:
879:
878:
860:
849:Sam Phillips
840:
836:
835:
817:
813:
812:
798:
796:
784:
769:or simulate
767:stereo width
762:
760:
744:
725:
713:audio signal
710:
690:
685:
673:Robert Fripp
661:
641:
593:
582:Live looping
578:Loop (music)
566:audio filter
562:
526:
524:for output.
517:
513:
499:
456:
439:
435:
425:Invented by
424:
419:
417:
397:
366:
362:
348:(1952), the
338:
323:
309:
306:effects unit
299:
288:Analog delay
251:
235:Brian Setzer
212:
201:
197:Scotty Moore
182:
177:echo machine
176:
174:
155:
128:Sam Phillips
125:
110:
96:
84:
69:
52:
51:
3264:Music store
3259:Home cinema
3218:Robert Moog
3203:Max Mathews
3127:Piano tuner
3095:Professions
3071:Scorewriter
3028:Synthesizer
2844:Loudspeaker
2507:Click track
2491:Vocal coach
2434:Backup band
2414:professions
2388:Turntablism
2262:Compression
2247:Pitch shift
2207:Overdubbing
2147:Engineering
1777:R.G. Keen.
1708:"Boss RE20"
923:Haas effect
912:is used in
857:Sun Records
845:rock-n-roll
757:Haas effect
687:John Martyn
652:main memory
328:(STEED) at
302:reverberant
193:Chet Atkins
148:Buddy Holly
80:Buddy Holly
3313:Categories
3254:Home audio
3244:Audiophile
3061:GarageBand
2907:Live music
2849:Headphones
2813:Phonograph
2682:Microphone
2677:Headphones
2623:Electrical
2618:Mechanical
2439:Bandleader
2398:Xenochrony
2353:aesthetics
2317:Noise gate
2277:Distortion
2239:processing
2202:Microphone
2097:2024-03-08
2076:2024-03-08
2025:2021-06-13
1955:2022-09-09
1919:The Edge,
1876:2019-06-26
1856:2021-05-13
1836:2021-06-13
1804:2022-10-17
1784:2021-02-15
1759:US 2892898
1744:2018-08-04
1720:2023-04-02
1663:2023-04-02
1636:2021-06-13
1599:2021-06-13
1566:31 January
1539:31 January
1498:2021-06-13
1379:2021-06-12
1347:2021-06-13
1315:2021-06-13
1280:2021-06-12
1269:MusicRadar
1240:2021-06-12
1205:2021-06-12
1130:References
1040:media help
995:media help
869:percussion
841:thickening
763:broadening
666:guitarist
576:See also:
543:SDE-3000,
431:insulating
320:Tape delay
270:dub techno
254:dub reggae
243:Portishead
239:Bob Marley
171:delay unit
130:created a
99:tape loops
72:tape loops
3018:Sequencer
2945:PA system
2874:Subwoofer
2859:PA system
2793:Amplifier
2755:Hard disk
2672:Equalizer
2349:Practices
2252:Auto-Tune
2227:Tape loop
2197:Diffusion
1949:Happy Mag
793:Multi-tap
789:program.
721:equalizer
675:used two
628:Amplitube
560:effects.
427:Ray Lubow
389:post-punk
346:EchoSonic
266:test tone
247:Radiohead
213:With the
189:Ray Butts
185:EchoSonic
3066:ProTools
3043:Software
3033:Theremin
2973:Chiptune
2930:Foldback
2760:MiniDisc
2424:Arranger
2383:Sampling
2307:Flanging
2185:Talk box
2019:Archived
1929:(film).
1830:Archived
1687:cite web
1533:NAMM.org
1492:Archived
1373:Archived
1341:Archived
1274:Archived
1234:Archived
1199:Archived
1153:cite web
1094:limiters
1048:See also
927:illusion
881:Flanging
747:feedback
740:flanging
699:Function
668:the Edge
644:software
529:Eventide
510:feedback
385:trip hop
360:(1974).
354:Echoplex
208:Ace Tone
204:Echoplex
152:Les Paul
115:such as
3162:Tape op
3013:Sampler
2327:Pumping
2292:Ducking
2237:Signal
1516:. 1997.
1109:effect.
952:Samples
751:limiter
572:Looping
539:PCM42,
537:Lexicon
414:Oil can
227:flutter
146:") and
93:History
3276:(NIME)
2950:Reverb
2527:Medley
2522:Mashup
2332:Reverb
2322:Phaser
1977:
1765:
1423:
893:reverb
887:chorus
826:unison
803:reverb
787:stereo
738:, and
736:chorus
624:plugin
605:Gibson
541:Roland
494:plugin
479:Ibanez
377:reggae
262:reverb
245:, and
225:, and
55:is an
3228:STEIM
3223:SMPTE
3198:IRCAM
2663:(DAW)
2542:Remix
2500:Other
2410:Roles
2368:Lo-fi
2271:STEED
1470:(PDF)
1463:(PDF)
1071:Notes
865:drums
824:, or
677:Revox
136:Ampex
61:mixed
53:Delay
2998:MIDI
2770:Opus
1975:ISBN
1693:link
1568:2022
1541:2022
1421:ISBN
1159:link
944:and
890:and
867:and
799:taps
717:echo
596:riff
580:and
554:Boss
457:The
391:and
310:taps
268:and
78:and
65:echo
43:Boss
2765:MP3
2750:DAT
2286:ADT
728:BPM
598:or
533:AMS
518:dry
514:wet
477:An
381:dub
223:wow
199:).
3315::
3107:DJ
2444:DJ
2052:.
2017:.
2011:.
1989:^
1947:.
1828:.
1822:.
1729:^
1710:.
1689:}}
1685:{{
1654:.
1622:.
1608:^
1585:.
1558:.
1531:.
1486:.
1388:^
1371:.
1365:.
1339:.
1333:.
1301:.
1289:^
1266:.
1249:^
1232:.
1226:.
1214:^
1197:.
1191:.
1155:}}
1151:{{
940:,
901:.
884:,
871:.
753:.
742:.
723:.
664:U2
630:4.
395:.
387:,
383:,
379:,
284:.
249:.
241:,
237:,
82:.
41:A
2594:e
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2288:)
2284:(
2273:)
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2131:e
2124:t
2117:v
2100:.
2079:.
2058:.
2028:.
1983:.
1958:.
1933:.
1879:.
1859:.
1839:.
1807:.
1787:.
1747:.
1723:.
1695:)
1666:.
1639:.
1602:.
1570:.
1543:.
1501:.
1429:.
1382:.
1350:.
1318:.
1283:.
1243:.
1208:.
1161:)
1096:.
1042:.
997:.
312:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
