Delay (audio effect) - Quiz
A) Straight delay B) Doubling echo C) Multi-tap D) Ping-pong delay
A) Multiple taps (outputs) B) A modulated feedback signal C) The raw visual media D) A single continuous loop
A) Rhythmic patterns or dense, reverb-like effects B) Audio to video synchronization C) Only slapback echo D) Tape recorder head spacing
A) By adding a short delay to a recorded sound B) By sending only the delayed signal to distant speakers C) By alternating between two stereo channels D) By using a delay time of 60 to 250 milliseconds
A) Thirty to fifty milliseconds B) 1 millisecond per foot C) 3 milliseconds per meter D) 60 to 250 milliseconds
A) Flanging B) Slapback echo C) Reverb D) Ping-pong delay
A) Doubletracking or unison performance B) A dense reverb-like effect C) Audio to video synchronization D) Propagation of sound through the air
A) 500 to 1000 milliseconds B) 30 to 50 milliseconds C) 1 millisecond per meter D) 60 to 250 milliseconds
A) Equal feedback to feed-forward ratio B) Maximum feedback C) Continuous modulation D) Little or no feedback
A) A stereo bouncing effect B) A thickening effect C) A spatial blur effect D) A phase cancellation effect
A) 1970s disco records B) Modern electronic music records C) 1960s psychedelic records D) 1950s rock-and-roll records
A) Elvis Presley B) Tom Dowd C) Les Paul D) Sam Phillips
A) Five B) Ten C) Twenty D) Two
A) By taking multiple taps from a delay buffer B) By re-feeding the output signal from the playback head to its record head C) By mixing the two channels of a stereo program D) By using 1 millisecond of delay per foot of air
A) The physical space between heads, the speed of the tape, and the chosen volume B) The buffer size, feedback level, and modulation depth C) The video frame rate, time base correction, and scaling D) The room dimensions, speaker distance, and frequency range
A) Drums and percussion B) Solo orchestral strings C) Brass and woodwinds D) Pipe organs
A) Straight delay and slapback echo B) Multi-tap and ping-pong delay C) Doubletracking and unison performance D) Flanging and chorus effect
A) It alternates between stereo channels B) It is between 60 and 250 milliseconds with no feedback C) It is very short and usually modulated D) It uses 1 millisecond per foot of air
A) Video scaling and framebuffers B) A single short delay of thirty milliseconds C) Direct speaker reinforcement without mixing D) Multiple delays and feedback
A) Compensating for the propagation of sound through air B) Creating a thickening effect on 1950s vocals C) Recreating the sound of an acoustic space D) Aligning sound with visual media
A) To create a rhythmic ping-pong stereo effect B) To blur individual echoes into a reverb-like space C) To doubletrack vocals like 1950s rock-and-roll D) To compensate for the propagation of sound through the air
A) It is not mixed back in with the original signal B) It incorporates high levels of feedback C) It is modulated continuously D) It uses much shorter delay times under ten milliseconds
A) To video scaling framebuffers B) To loudspeakers distant from the stage C) To the left channel of a stereo program only D) Directly back into the recording head of a tape machine
A) 3 milliseconds B) 1 millisecond C) 60 to 250 milliseconds D) 30 to 50 milliseconds
A) 1 millisecond B) 3 milliseconds C) 10 milliseconds D) 50 milliseconds
A) Resonance B) The Haas effect C) Phase cancellation D) Doppler effect
A) To deliver sufficient sound volume to the back of the venue without excessive volume near the front B) To create a dense reverb-like acoustic space C) To synchronize audio with delayed television broadcasting D) To achieve a thickening slapback effect for vocals
A) Simulating unison performance on recordings B) Audio to video synchronization C) Creating doubletracking effects for instruments D) Generating rhythmic ping-pong patterns
A) Physical spacing between tape recorder heads B) Time base correction, video scaling, and framebuffers C) Excessive sound volumes near the front of a venue D) The propagation of sound through the air
A) The associated audio may be delayed B) The multi-tap buffer outputs are summed C) The tape recorder speed is increased D) The feedback level of the slapback echo is reduced
A) 1984 B) 1973 C) 1954 D) 2000
A) Classical baroque B) Smooth jazz C) Heavy metal D) Musique concrète
A) Bob Marley B) Karlheinz Stockhausen C) Elvis Presley D) Chet Atkins
A) Sam Phillips B) Ray Butts C) Pierre Schaeffer D) Ikutaro Kakehashi
A) Brian Setzer B) Scotty Moore C) Les Paul D) Buddy Holly
A) Karlheinz Stockhausen B) Ray Butts C) Ikutaro Kakehashi D) Sam Phillips
A) The 2000s B) The 1980s C) The 1950s D) The 1970s
A) Electronic music B) Baroque classical C) Musique concrète D) Country music
A) 1974 B) 1958 C) 1952 D) 1959
A) The Roland Space Echo B) The Watkins Copicat C) The Echoplex D) The EchoSonic
A) The Watkins Copicat B) The Echoplex C) The EchoSonic D) The Roland Space Echo
A) That multiple instruments are playing simultaneously B) That the audio is being sped up infinitely C) That the echoes are receding rather than just getting quieter D) That the recording was made in a natural cave
A) Electrostatic B) Magnetic tape C) Electromagnetic D) Digital
A) Anodized aluminium B) Stainless steel C) Carbon particles D) Conductive neoprene
A) Carbon B) Aluminum C) Copper D) Neoprene
A) An analog-to-digital converter B) A second wiper C) A voltage amplifier D) A conductive neoprene wiper
A) An AC signal source B) A bucket-brigade device C) A second wiper D) A conductive neoprene wiper
A) Vibrato B) Pitch scaling C) Digital looping D) Time stretching
A) DD-2 B) Memory Man C) GA-4RE D) Dimension IV
A) Roland B) Gibson C) Tel-Ray D) Fender
A) Eventide B) Lexicon C) Tel-Ray/Morley D) Electro-Harmonix
A) Dimension IV B) Memory Man C) Ad-n-echo D) DMX 15-80
A) Philips B) Fender C) Gibson D) Eventide
A) Boss DM-2 B) Dimension IV C) DD-2 D) Memory Man
A) 1981 B) 1984 C) 1976 D) 1969
A) A Leslie speaker B) An oil-can assembly C) An anodized aluminium disc D) A memory buffer
A) AMS DMX 15-80 B) Eventide DDL 1745 C) Roland SDE-3000 D) Lexicon PCM42
A) 1976 B) 1971 C) 1984 D) 1978
A) Tape delay speeds increased B) Digital memory became cheaper C) Bucket-brigade devices improved D) Oil-can assemblies became smaller
A) 3 seconds B) 32 seconds C) 64 seconds D) 16 seconds
A) Memory Man B) Boss DD-2 C) Dimension IV D) Boss DM-2
A) 1985 B) 2006 C) 1992 D) 1970
A) 1992 B) 1999 C) 1970 D) 2006
A) Frippertronics B) Loop Delay C) Double-tracking D) Haas effect
A) Robert Fripp B) The Edge C) Helmut Haas D) John Martyn
A) January 1992 B) February 1980 C) December 2006 D) February 1970
A) A limiter B) An equalizer C) A BPM synchronizer D) A looper
A) 10 ms B) 100 ms C) 50 ms D) 500 ms
A) The Edge B) John Martyn C) Helmut Haas D) Robert Fripp |
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