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