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