Recording

A Brief Thought on Reverb and Delay

The Music Telegraph | Text 2022/12/20 [15:28]
Recording

A Brief Thought on Reverb and Delay

The Music Telegraph| 입력 : 2022/12/20 [15:28]

 

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A Brief Thought on Reverb and Delay

 

  • We have gone way beyond the idea of using artificial reverb just to simulate real world environments. Today reverb is its own sound element in a mix. We have torn the fabric of reality and can now make reverb be anything we want. There are as many different ways to alter a reverb, as there are people who try it, but one of the most common ways to alter reverb is to stop the reverb before it decays away. By not allowing the reverb to gently and gradually decay but instead abruptly cut it, we create a very different sound. The trick to creating this sound is to put the reverb signal through a gate and adjusting its threshold so that when the decay falls below it, the sound will cut off.

 

  • Since the early dawn of recorded music, people have been finding ways to incorporate a delayed signal into an audio production of one sort of another. In the 1940's Les Paul got a delay effect from a record by using 2 tone arms on one disc. Early radio productions used delays to create spooky otherworldly effects for radio plays. Early rock & roll and blues musicians have been using tape delay on everything from vocals, to guitars, to etc. Delayed effects have become one of our more important tricks of the trade in recording industries.

 

  • Phasing, Flanging, Chorusing, and electronic double tracking are all effects that come under the same heading - 'Time-modulated delays'. What the effect processor is doing is changing the input signal's time delay dynamically (i.e., over time), and then adding that delayed signal back into the input. This causes cancellations and reinforcements (comb filtering) with the original sound. 

 

 

 

 

 

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