Effects: Delay Flashcards
Early forms of ? delay in the 40s and 50s evolved from tape recording and used spools of tape. Sound was captured onto the tape via a record ?, the tape would run around its length and play back across a ? head. When combined through a mixer with the original audio, it’d create a repeat.
Analogue.
Head.
Playback.
Tape delay units could feature several ? heads to create multiple repeats, and because tape’s an ? material, the sound’d degrade each time. With a warm sound, echoes would’ve different characteristics on each repeat as the tape ? and the signal ?
Playback.
Analogue.
Saturated.
Degraded.
?-? delay was developed in the 70s and was a series of ? which an analogue signal’s moved through whilst ? to a clock. The signal’s held in each capacitor (or “?”) then moved to the next virtual “holding place”, delaying the signal in time with the clock. Each repeat’s a slight ? in the quality of the sound but degrades in a different way to the tape delays, so the sounds are distinct.
Bucket-brigade. Capacitors. Synchronised. Bucket. Degradation.
Bucket-brigade delays are smaller than ? delays because of the storage of sounds within chips and the use of smaller electric ?, small enough to be installed into foot pedals for guitarists that made sound available to musicians who couldn’t afford expensive and bulky tape delay units.
Tape.
Components.
Digital delays were developed in the early 80s to convert incoming audio signals to information via an ?, storing this digital information internally and the signal’s played and converted back to audio via a ?, stored as ? data.
ADC.
DAC.
Binary.
Boss DD-2 pedal, released in ?, had a frequency response between 40hz and 70kHz, meaning the delayed signal would be lacking high frequency content.
1983.
More modern digital delays featured a higher ? ? and ? ? so they could play back the delayed signal with minimal ?
Bit depth.
Sample rate.
Degradation.
