Delay (audio effect) - Quiz
A) Multi-tap B) Straight delay C) Doubling echo D) Ping-pong delay
A) A single continuous loop B) The raw visual media C) Multiple taps (outputs) D) A modulated feedback signal
A) Audio to video synchronization B) Only slapback echo C) Rhythmic patterns or dense, reverb-like effects D) Tape recorder head spacing
A) By alternating between two stereo channels B) By adding a short delay to a recorded sound C) By using a delay time of 60 to 250 milliseconds D) By sending only the delayed signal to distant speakers
A) 60 to 250 milliseconds B) 1 millisecond per foot C) 3 milliseconds per meter D) Thirty to fifty milliseconds
A) Slapback echo B) Ping-pong delay C) Reverb D) Flanging
A) Audio to video synchronization B) Doubletracking or unison performance C) Propagation of sound through the air D) A dense reverb-like effect
A) 1 millisecond per meter B) 60 to 250 milliseconds C) 500 to 1000 milliseconds D) 30 to 50 milliseconds
A) Equal feedback to feed-forward ratio B) Continuous modulation C) Maximum feedback 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) 1960s psychedelic records C) Modern electronic music records D) 1950s rock-and-roll records
A) Les Paul B) Elvis Presley C) Sam Phillips D) Tom Dowd
A) Five B) Ten C) Twenty D) Two
A) By mixing the two channels of a stereo program B) By re-feeding the output signal from the playback head to its record head C) By taking multiple taps from a delay buffer D) By using 1 millisecond of delay per foot of air
A) The room dimensions, speaker distance, and frequency range B) The physical space between heads, the speed of the tape, and the chosen volume C) The buffer size, feedback level, and modulation depth D) The video frame rate, time base correction, and scaling
A) Drums and percussion B) Solo orchestral strings C) Brass and woodwinds D) Pipe organs
A) Straight delay and slapback echo B) Doubletracking and unison performance C) Flanging and chorus effect D) Multi-tap and ping-pong delay
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) Multiple delays and feedback C) Direct speaker reinforcement without mixing D) A single short delay of thirty milliseconds
A) Recreating the sound of an acoustic space B) Creating a thickening effect on 1950s vocals C) Aligning sound with visual media D) Compensating for the propagation of sound through air
A) To compensate for the propagation of sound through the air B) To create a rhythmic ping-pong stereo effect C) To blur individual echoes into a reverb-like space D) To doubletrack vocals like 1950s rock-and-roll
A) It uses much shorter delay times under ten milliseconds B) It is modulated continuously C) It incorporates high levels of feedback D) It is not mixed back in with the original signal
A) To the left channel of a stereo program only B) Directly back into the recording head of a tape machine C) To video scaling framebuffers D) To loudspeakers distant from the stage
A) 1 millisecond B) 60 to 250 milliseconds C) 3 milliseconds D) 30 to 50 milliseconds
A) 3 milliseconds B) 1 millisecond C) 10 milliseconds D) 50 milliseconds
A) Resonance B) The Haas effect C) Phase cancellation D) Doppler effect
A) To achieve a thickening slapback effect for vocals B) To create a dense reverb-like acoustic space C) To deliver sufficient sound volume to the back of the venue without excessive volume near the front D) To synchronize audio with delayed television broadcasting
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 feedback level of the slapback echo is reduced B) The tape recorder speed is increased C) The multi-tap buffer outputs are summed D) The associated audio may be delayed
A) 1954 B) 1973 C) 2000 D) 1984
A) Musique concrète B) Smooth jazz C) Classical baroque D) Heavy metal
A) Karlheinz Stockhausen B) Elvis Presley C) Chet Atkins D) Bob Marley
A) Sam Phillips B) Pierre Schaeffer C) Ikutaro Kakehashi D) Ray Butts
A) Les Paul B) Scotty Moore C) Buddy Holly D) Brian Setzer
A) Karlheinz Stockhausen B) Ray Butts C) Ikutaro Kakehashi D) Sam Phillips
A) The 1950s B) The 1970s C) The 2000s D) The 1980s
A) Electronic music B) Musique concrète C) Country music D) Baroque classical
A) 1958 B) 1952 C) 1974 D) 1959
A) The Roland Space Echo B) The EchoSonic C) The Watkins Copicat D) The Echoplex
A) The Echoplex B) The Roland Space Echo C) The EchoSonic D) The Watkins Copicat
A) That the audio is being sped up infinitely B) That the recording was made in a natural cave C) That multiple instruments are playing simultaneously D) That the echoes are receding rather than just getting quieter
A) Electrostatic B) Digital C) Electromagnetic D) Magnetic tape
A) Carbon particles B) Conductive neoprene C) Anodized aluminium D) Stainless steel
A) Aluminum B) Carbon C) Copper D) Neoprene
A) A voltage amplifier B) An analog-to-digital converter C) A second wiper D) A conductive neoprene wiper
A) A conductive neoprene wiper B) An AC signal source C) A bucket-brigade device D) A second wiper
A) Time stretching B) Vibrato C) Pitch scaling D) Digital looping
A) Memory Man B) DD-2 C) Dimension IV D) GA-4RE
A) Gibson B) Tel-Ray C) Fender D) Roland
A) Electro-Harmonix B) Lexicon C) Eventide D) Tel-Ray/Morley
A) Dimension IV B) Memory Man C) DMX 15-80 D) Ad-n-echo
A) Fender B) Eventide C) Gibson D) Philips
A) DD-2 B) Boss DM-2 C) Memory Man D) Dimension IV
A) 1976 B) 1984 C) 1981 D) 1969
A) An anodized aluminium disc B) A memory buffer C) A Leslie speaker D) An oil-can assembly
A) AMS DMX 15-80 B) Eventide DDL 1745 C) Lexicon PCM42 D) Roland SDE-3000
A) 1971 B) 1984 C) 1976 D) 1978
A) Bucket-brigade devices improved B) Tape delay speeds increased C) Oil-can assemblies became smaller D) Digital memory became cheaper
A) 64 seconds B) 32 seconds C) 3 seconds D) 16 seconds
A) Boss DM-2 B) Dimension IV C) Memory Man D) Boss DD-2
A) 1970 B) 1985 C) 1992 D) 2006
A) 1970 B) 2006 C) 1999 D) 1992
A) Loop Delay B) Haas effect C) Frippertronics D) Double-tracking
A) Robert Fripp B) The Edge C) John Martyn D) Helmut Haas
A) January 1992 B) December 2006 C) February 1980 D) February 1970
A) A BPM synchronizer B) An equalizer C) A looper D) A limiter
A) 500 ms B) 100 ms C) 10 ms D) 50 ms
A) Robert Fripp B) John Martyn C) The Edge D) Helmut Haas |
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