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Production > Delay > Flashcards

Delay Flashcards

1
Q

Delay Knob represents what?

A

The difference between the original signal and the delayed signal.

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2
Q

Should we use tempo sync and why or why not?

A

No. Slightly off beat is better and helps create rhythms that are important in Techno and Tech House. Out of time increments sound better to our ears.

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3
Q

Using non tempo based delay helps what?

A

Train your ears.

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4
Q

Feedback does what?

A

Determines the amount of signal fed back into the input and controls the number of delays that occur.

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5
Q

We should generally set the delay so that it what?

A

The feedback dies away before the next hit.

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6
Q

Delay on AUX channel should be set to what?

A

100% wet.

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7
Q

Delay output knob can often be used to add what to a signal?

A

Distortion and saturation.

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8
Q

Ping Pong Delay is what?

A

Delay that alternates between the left and right of the spectrum. Left channel is ping. Right channel is pong.

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9
Q

With Ping Pong delay we set the ms different to what?

A

Create the delay.

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10
Q

If ping is at 300ms and pong is at 150ms then pong sounds when?

A

150 after pings 300ms after the original signal. So 450 after the original signal.

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11
Q

Is ping fed into pong?

A

Yes

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12
Q

Pong occurs a set number of ms after what? These are known as what?

A
  1. Ping

2. Taps

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13
Q

List the three different types of taps.

A
  1. Single delay
  2. Ping Pong
  3. Multitap
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14
Q

Order to set up delay:

A
  1. Set delay time
  2. Set feedback
  3. Set balance
  4. Set output
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15
Q

Long Delay delay time should be set to

A

Around 60-70ms

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16
Q

How far from a surface do we need to be to hear an echo?

A

60 feet away.

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17
Q

The further sound has to travel the what?

A

More the frequencies will be attenuated.

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18
Q

We can roughly interpret how far we are from a sound source using what?

A

The High and low frequencies in comparison to the midrange frequencies.

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19
Q

To simulate real acoustic scenarios we should attenuate what?

A

Gain and frequency range.

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20
Q

To simulate real acoustic scenarios we should EQ what?

A

The highs and lows.

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21
Q

Diffusion is what?

A

Slight blurring of the transient after some of the low and high frequencies are attenuated.

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22
Q

How can we create a more natural sounding delay with depth?

A

By cutting the lows and highs and possibly boosting the Mids slightly. Then add diffusion.

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23
Q

Delay that occurs on top of other percussive instruments results in what?

A

A loss of contrast.

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24
Q

Frequency masking is what?

A

When a signal is overlaid over the masker. The frequencies merge and result in a different timbre. The sounds are different in isolation than in the mix.

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25
Q

Frequency masking occurs how many ms before or after the original sound?

A

20-40ms

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26
Q

High frequency bands can still affect what?

A

Low frequencies.

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27
Q

Dotted values are what?

A

The notes value plus half of the notes value. EX: Dotted 8th = 1/8th + 1/16th

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28
Q

Dotted can help by allowing what?

A

The transient of other instruments through the mix.

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29
Q

We perceive the entire hihat to be audible when its _____.

A

Transient comes through.

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30
Q

Fundamental of a good mix:

A

Making sure transients have their own space to play independently.

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31
Q

Use less delay when it comes to

A

The beat.

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32
Q

Try to avoid transients what?

A

Occurring at the same time. Tempo syncing can lead to them playing simultaneously.

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33
Q

Unrealistic echo can sound good if we consider what?

A

where the transients land and the context of the tracks

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34
Q

Practical Echo:

Tracks should be what?

A

Designed with echo in mind.

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35
Q

Practical Echo: To determine the delay length we need to take what into account?

A

The transient nature of the sound and context of the track.

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36
Q

If we keep transients clear we get what?

A

A clean sound

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37
Q

Natural transient and what should not coincide and why?

A

The delayed transient to avoid masking.

38
Q

When setting delay try to think of what we are trying to achieve. Give an example

A

1/8 will take away the slow pace of a vocal.

39
Q

Think of what while setting delay time?

A

The Transients, tempo, and flow of music.

40
Q

What can be used to avoid transient masking?

A

Low and high cut.

41
Q

We can use modulation on a delay to what?

A

Make it go further and further back in the mix creating space. But don’t forget emotional context.

42
Q

We can use automation to turn the delay on and off when?

A

During muddy parts.

43
Q

We determine distance by what?

A

The relationship between the mids and high frequencies.

44
Q

For realistic delay it’s preferable to increase what?

A

The mids over the highs.

45
Q

Delay can be used to what?

A

Give more energy or push instruments back.

46
Q

We can use a transient designer after the delay to what?

A

Remove the delay transients!

47
Q

Can use a compressor to what?

A

Ensure echoes don’t fade away too quickly.

48
Q

When sound travels through air, what are absorbed?

A

High frequencies.

49
Q

To create whispering effect you can what?

A

Increase the resonance in filterfreak.

50
Q

When taps land on other notes it what?

A

Ends up increasing or doubling the amplitude. This can add to syncopation and rhythmic feel. We don’t want this to always happen.

51
Q

Medium and short delays are how long?

A

Less than 60ms.

52
Q

A wave cycle is 0-360 and frequency is determined by the time it takes to what?

A

complete a cycle. So 20hz = 20 cycles.

53
Q

T = 1/f which means what?

A

Delay time = 1/frequency

54
Q

If we do a 2ms time with a 20hz signal, the cycle will occur when?

A

directly after the first cycle on time.

55
Q

If a tap occurs directly on top it equals what?

A

Constructive interference.

56
Q

Constructive interference means what?

A

The waveforms support each other and the amplitude doubles.

57
Q

If we do 1ms on a 500hz sin wave, the frequencies what?

A

Almost completely cancel the sound out…deconstructive interference because the cycles are out of phase.

58
Q

Constructive interference occurs by what?

A

Integers. 1/t, 2/t, 3/t, 4/t, etc.

59
Q

Deconstructive is what?

A

1/2t, 3/2t, 5/2t, 7/2t, etc.

60
Q

Deconstructive interference results in what?

A

Comb filtering…notches and nulls.

61
Q

If we boost the bottom frequencies using comb filtering, what can happen?

A

The mix can sound bottom heavy which we can fix with eq or adjustingthe delay.

62
Q

Bass sounds weaker if we what?

A

Remove the fundamental which can be good or bad. Can use this to remove the fundamental so that it gets out of the way of the kick when doing a bass.

63
Q

A gain plugin that inverts the phase can be used to what?

A

Remove the hollow effect from comb filtering. This can create presence. This can flip from destructive to constructive interference.

64
Q

Use comb filtering to create a wider bass how?

A

Have left be constructive and right be destructive.

65
Q

Comb filtering can be problematic when?

A

Summed to mono.

66
Q

When applying short delays that result in comb filtering, what can happen when you increase the feedback?

A

It reinforces the comb filtering. The constructive and deconstructive feedback become more pronounced and the result is an increased and decreased width of comb filter notches.

67
Q

Modulation helps with what?

A

Creating a thick full and interesting sound.

68
Q

Modifying the frequency creates what?

A

A flanger effect.

69
Q

Using a delay instead of a flanger what?

A

Allows you to enforce where the delays occur instead of on the entire signal.

70
Q

Haus Effect:

A

A sound emanating form left will reach our left ear before the right and vice versa.

71
Q

Directivity of a signal is determined by what?

A

The time delay and amplitude of the delayed signal. If a sound hits one ear and another between 1-30ms and no more than 10db louder than original signal we can determine directional information from it.

72
Q

Medium delay has a delay time of what?

A

25 - 60ms

73
Q

Medium doesn’t avoid what?

A

Comb filtering.

74
Q

Medium delay produces

A

Chorus, spreading, thickening, and doubling.

75
Q

Medium day upper range results in what?

A

Less phase cancellation resulting in thickening and more presence in the sound.

76
Q

At medium delay settings, the most prominent phase cancellations commonly occur below what?

A

The fundamental or frequency range the delay occurs at.

77
Q

Which notches/nulls in comb filtering are most apparent to our ears?

A

The first 3-5 due to being closest to the fundamental.

78
Q

With Medium Delay we want the first 3-5 notches and nulls to what?

A

Occur below the fundamental

79
Q

Medium Delay:

After setting the delay time to be 3-5 nulls below the fundamental we can do what to make an instrument thicker?

A

Increase the delay time.

80
Q

Medium Delay:

After finding the delay time sweet spot we can what to make it larger?

A

Pan it to the left or right.

81
Q

Medium Delay:

Ears focus on the vocal which means comb filtering on a vocal will be what?

A

Very noticeable by default.

82
Q

Medium Delay:

When we use a delay to double an instrument we naturally expect what?

A

Pitch variation between the instruments.

83
Q 
Deconstructive Interference (Hz):
.5ms
A

1000, 3000, 5000, 7000, 9000, 11000

84
Q 
Deconstructive Interference (Hz):
1ms
A

500, 1500, 2500, 3500, 4500, 5500

85
Q 
Deconstructive Interference (Hz):
2ms
A

250, 750, 1250, 1750, 2250, 2750

86
Q 
Deconstructive Interference (Hz):
2.5ms
A

200, 600, 1000, 1500, 1800, 2200

87
Q 
Deconstructive Interference (Hz):
5ms
A

100, 300, 500, 700, 900, 1100

88
Q 
Deconstructive Interference (Hz):
10ms
A

50, 150, 250, 350, 450, 550

89
Q 
Deconstructive Interference (Hz):
20ms
A

25, 75, 125, 175, 225, 275

90
Q 
Deconstructive Interference (Hz):
25ms
A

20, 60, 100,140, 180, 220

91
Q 
Deconstructive Interference (Hz):
50ms
A

10, 30, 50, 70, 90, 110

Production (13 decks)

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