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59-423: This was done by splitting the mono signal into two channels, then delaying one channel's signal by means of delay lines and other circuits, i.e. desynchronizing the two channels by fractions of a second, and cutting the bass frequencies in one channel with a high-pass filter , then cutting the treble frequencies in the other channel with a low-pass filter . The result was an artificial stereo effect, without giving

118-425: A convenient alternative to tape delays and leslie speakers but were eventually largely supplanted by digital delays. Digital delay systems function by sampling the input signal using an analog-to-digital converter . The resulting digital audio is passed through a memory buffer and recalled from the buffer a short time later. Through feedback of some of the delayed audio back into the buffer, multiple repeats of

177-401: A dense or ethereal quality to their singing or playing. Extremely long delays of 10 seconds or more are often used to create loops of a whole musical phrase. Robert Fripp used two Revox reel-to-reel tape recorders to achieve very long delay times for solo guitar performance. He dubbed this technology " Frippertronics ", and used it in a number of recordings. John Martyn was a pioneer of

236-560: A long delay capacity could be used to record a riff or chord progression and then play over it, they were challenging to work with. The Paradis Loop Delay, created in 1992, was the first unit with dedicated looping functions such as record, overdub, multiply, insert, and replace, which made it more intuitive and user-friendly. Gibson manufactured a slightly improved version as the Echoplex Digital Pro until 2006. A natural development from digital delay-processing hardware

295-429: A process which culminated with Revolver (1966) and its last track " Tomorrow Never Knows ", based on five tape loops running simultaneously. " Revolution 9 " (1968) was an even more experimental venture, consisting almost entirely of tape loops fading in and out. Introduction of new technologies, such as analog music sequencers and synthesizers in the 1970s, followed by digital sequencers in 1977, marked an end of

354-552: A recorded loop, something is done to progressively alter the recorded material between cycles, such as re-recording the sound before it passes the playback head or adding new material to the loop, then a process of change will occur in the content, quality and complexity of the material. On a standard reel-to-reel tape recorder, one loop can be no more than few seconds long. Some composers were satisfied with this approach, but there were other methods to allow for longer loops. For example, placing two reel-to-reel machines side by side with

413-413: A repeating, decaying echo. Delay effects range from a subtle echo effect to a pronounced blending of previous sounds with new sounds. Delay effects can be created using tape loops , an approach developed in the 1940s and 1950s and used by artists including Elvis Presley and Buddy Holly . Analog effects units were introduced in the 1970s; digital effects pedals in 1984; and audio plug-in software in

472-553: A slapback echo effect by using both mechanical and handmade tape loops. These techniques were later adopted by hip hop musicians in the 1970s. Steve Reich also used tape loops to compose, using a technique which he called " phasing ". He would put two tape loops together at slightly different speeds, so they would start playing simultaneously and then drift apart. Pieces created by this method are It's Gonna Rain (1965) and Come Out (1966). In Violin Phase (1967) he combined

531-398: A stereo effect, but referred to it by other terms, such as RCA Records ' "electronically reprocessed stereo" and Columbia Records ' "Electronically Re-channeled for Stereo". As with Capitol, Columbia's artificial stereo issues included albums by major artists, such as Miles Davis ( 'Round About Midnight , CL 949 mono, reissued in stereo as PC 8649). Delay (audio effect) Delay

590-415: A stereo remix, so the song was released in fake stereo on the 1969 album Yellow Submarine . However, the 1999 album Yellow Submarine Songtrack features a full stereo remix of the song, and the 2009 remaster of the original 1969 album restores the song to its original mono mix because enhanced stereo had fallen out of favor. Other record companies used similar processing of monophonic material to create

649-402: A suspension of carbon particles. An AC signal to a conductive neoprene wiper transfers the charge to the high impedance disc. As the particles pass by the wiper, they act as thousands of tiny capacitors, holding a small part of the charge. A second wiper reads this representation of the signal, and sends it to a voltage amplifier that mixes it with the original source. To protect the charge held by

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708-651: A tape loop through a device with a variety of mechanisms allowing modification of the effect's parameters. Popular models include Ray Butts' EchoSonic (1952), the Watkins Copicat (1958), the Echoplex (1959) and the Roland Space Echo (1974). In the Echoplex EP-2, the play head position was fixed, while a combination record and erase head was mounted on a slide, thus the delay time of

767-405: Is an audio signal processing technique that records an input signal to a storage medium and then plays it back after a period of time. When the delayed playback is mixed with the live audio, it creates an echo -like effect, whereby the original audio is heard followed by the delayed audio. The delayed signal may be played back multiple times, or fed back into the recording, to create the sound of

826-447: Is characteristic of vocals on 1950s rock-n-roll records. In July 1954, Sam Phillips produced the first of five 78s and 45s that Elvis Presley would release on Sun Records over the next year and a half, all of which featured a novel production technique that Phillips termed slapback echo . The effect was produced by re-feeding the output signal from the playback head tape recorder to its record head. The physical space between heads,

885-516: Is known as the precedence effect or Haas effect, after the German scientist Helmut Haas. In a ping-pong delay, the delayed signal alternates between the two channels of a stereo program. In a multi-tap delay, multiple taps (outputs) are taken from a delay buffer, each with independent times and levels, and summed with the original signal. Multi-tap delays can be used to create rhythmic patterns or dense, reverb -like effects. Doubling echo

944-419: Is produced by adding short delay to a recorded sound. Delays of thirty to fifty milliseconds are the most common; longer delay times become slapback echo . Mixing the original and delayed sounds creates an effect similar to doubletracking , or unison performance. Slapback echo uses a delay time of 60 to 250 milliseconds with little or no feedback. A slapback delay creates a thickening effect. The effect

1003-683: Is the Echoplex which uses a tape loop. The length of delay is adjusted by changing the distance between the tape record and playback heads. Another is the Ace Tone EC-1 Echo Chamber. With the Roland RE-201 , introduced in 1973, Japanese engineer Ikutaro Kakehashi refined the tape delay to make it more reliable and robust, with reduced tape wear and noise, wow , and flutter , additional controls, and additional tape heads. Different effects could be created by enabling different combinations of playback heads. By adjusting

1062-418: The 1980s, analog audio and tape loops with it gave way to digital audio and application of computers to generate and process sound. In a tape loop, a section of magnetic tape is cut and spliced end-to-end, creating a circle or loop which can be played continuously, usually on a reel-to-reel tape recorder, making the sound repeat endlessly. Simultaneous playing of tape loops to create patterns and rhythms

1121-554: The 2000s. The first delay effects were achieved using tape loops improvised on reel-to-reel audio tape recording systems. By shortening or lengthening the loop of tape and adjusting the read-and-write heads , the nature of the delayed echo could be controlled. This technique was most common among early composers of musique concrète such as Pierre Schaeffer , and composers such as Karlheinz Stockhausen , who had sometimes devised elaborate systems involving long tapes and multiple recorders and playback systems, collectively processing

1180-498: The Gift (1963) and culminating in his use of a tape delay/feedback system employing two tape recorders (collectively described by Riley as the "time lag accumulator") in live solo performances. The use of tape loops in popular music dates back to Jamaican dub music in the 1960s. Dub producer King Tubby used tape loops in his productions, while improvising with homemade delay units. Another dub producer, Sylvan Morris, developed

1239-708: The accelerated sound. The maximum available acceleration of most three-speed tape recorders is four times. In the late 1940s, Pierre Schaeffer used special phonograph discs with a sillon fermé (closed groove) to repeat segments of sounds in his musique concrète studio in Paris. When magnetic tape technology became available, he replaced this technique with tape loops, where such segments could either be simply repeated, or could undergo electronic transformation during repetition. In 1955, Éliane Radigue , an apprentice of Pierre Schaeffer at Studio d'Essai , learned to cut, splice and edit tape using his techniques. However, in

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1298-454: The acoustic sound from the stage. The delayed signal uses approximately 1 millisecond of straight delay per foot of air or 3 milliseconds per meter. Because of the Haas effect , this technique allows audio engineers to use additional speaker systems placed away from the stage and still give the illusion that all sound originates from the stage. The purpose is to deliver sufficient sound volume to

1357-909: The arrival of digital recording . Before the invention of audio delay technology, music employing an echo had to be recorded in a naturally reverberant space, often an inconvenience for musicians and engineers. The demand for an easy-to-use real-time echo effect led to the production of systems offering an all-in-one effects unit that could be adjusted to produce echoes of any interval or amplitude. The presence of multiple taps ( playback heads ) made it possible to have delays at varying rhythmic intervals; this allowed musicians an additional means of expression over natural periodic echoes. Early experiments such as send tape echo echo delay (STEED) at Abbey Road Studios used standard and modified reel-to-reel tape recorders to produce delay. Delay processors based on analog tape recording use magnetic tape as their recording and playback medium. Electric motors guide

1416-739: The associated audio must be delayed to match the visual content. Tape loop In music , tape loops are loops of magnetic tape used to create repetitive , rhythmic musical patterns or dense layers of sound when played on a tape recorder . Originating in the 1940s with the work of Pierre Schaeffer , they were used among contemporary composers of 1950s and 1960s, such as Éliane Radigue , Steve Reich , Terry Riley , and Karlheinz Stockhausen , who used them to create phase patterns, rhythms, textures, and timbres . Popular music authors of 1960s and 1970s, particularly in psychedelic , progressive and ambient genres, used tape loops to accompany their music with innovative sound effects. In

1475-476: The audio are created. The delayed ( wet ) output may be mixed with the unmodified ( dry ) signal after, or before, it is sent to a digital-to-analog converter for output. Digital delay effects were initially available as expensive rack-mounted units intended for use in television and audio production studios. One of the first was the Eventide DDL 1745 from 1971. Another popular rack-mount digital delay

1534-444: The audio quality. In later years, tape delay effects remained popular for the way the tape compresses and distorts, "creating the impression that the echoes are receding rather than just getting quieter". An alternative echo system was the so-called oil-can delay method, which uses electrostatic rather than electromagnetic recording. Invented by Ray Lubow , the oil-can method uses a rotating disc of anodized aluminium coated with

1593-401: The back of the venue without resorting to excessive sound volumes near the front. Straight delay is also used in audio to video synchronization to align sound with visual media (e.g., on TV or web broadcasting), if the visual source is delayed. Visual media can become delayed by a number of mechanisms or reasons such as time base correction , video scaling and framebuffers , in which case

1652-517: The controls and tape speed, musicians could create pitch-shifting and oscillated effects. The RE-201 was used by acts including Brian Setzer , Bob Marley , Portishead , and Radiohead . In the 1970s, Jamaican dub reggae producers used delay effects extensively; Lee Scratch Perry created "lo-fi sci-fi" effects by using delay and reverb on a mixing console test tone and dub techno producers such as Basic Channel introduced delay to electronic music . Digital delay effects were developed with

1711-513: The delayed audio back into the delay mechanism, multiple repeats of the audio are heard. At low feedback settings, each repeat fades in volume. High levels of feedback can cause the level of the output to rapidly increase, becoming louder and louder; this may be managed using a limiter . Short delays (50 ms or less) create a sense of broadening the sound without creating a perceptible echo and can be used to add stereo width or simulate double-tracking (layering two performances). The effect

1770-744: The early sixties with the Ad-n-echo, and eventually producing the Echo-ver-brato, the Electrostatic Delay Line, and many others into the eighties. The bucket-brigade devices (BBD) was developed at Philips in 1969. Delay effects utilizing this technology eventually became available. Notable examples include the Memory Man from Electro-Harmonix, released in 1976 and the Boss DM-2 released in 1981. BBD-based devices offered

1829-498: The echo was adjusted by changing the distance between the record and play heads. The Space Echo uses a free-running tape transport system to reduce tape wear, noise, and wow and flutter , and made the units more reliable and easy to transport. It was more reliable and sturdy than previous tape echo devices, making it easy to travel and perform with. It has been used by musicians in genres such as reggae , dub , trip hop , post-punk and experimental rock . Thin magnetic tape

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1888-491: The echoplex. Perhaps the earliest indication of his use can be heard on the songs "Would You Believe Me" and "The Ocean" on the album Stormbringer! released in February 1970. Delay effects add a time delay to an audio signal . Blending the delayed audio with the original audio creates an echo -like effect, whereby the original audio is heard followed by the delayed audio. The delayed signal may be treated separately from

1947-509: The electronics grew smaller, they became available in the form of foot pedals. The first digital delay offered in a pedal was the Boss DD-2 in 1984. Rack-mounted delay units evolved into digital reverb units and on to digital multi-effects units capable of more sophisticated effects than pure delay, such as reverb and audio time stretching and pitch scaling effects. Digital delays present an extensive array of options, including control over

2006-632: The end of the 1950s. Using simple Wollensak tape recorders, he recorded piano music, speech and other sound samples, which he would reproduce on speakers surrounding the audience along with live performance, creating "orchestral textures", as Edward Strickland puts it. With assistance of Richard Maxfield and Ramon Sender , Riley combined tape loops with echoplex devices, producing an "acid trip" piece Mescalin Mix (1961), made from sound samples from his earlier works. Later, he experimented with combining different tapes together, producing pieces such as Music for

2065-421: The input audio - for example, with an equalizer . Most delay effects allow users to set the delay time, or the amount of time between each audio playback. The may be synchronized to a BPM , allowing users to set time values as beat divisions . Delay is used to create other effects, including reverb, chorus , and flanging . Delay effects typically allow users to add and adjust feedback . By feeding some of

2124-483: The input of a live performer or ensemble. American producer Sam Phillips created a slapback echo effect with two Ampex 350 tape recorders in 1954. The effect was used by artists including Elvis Presley (such as on his track " Blue Moon of Kentucky ") and Buddy Holly , and became one of Phillips' signatures. Guitarist and instrument designer Les Paul was an early pioneer in delay devices. According to Sound on Sound , "The character and depth of sound that

2183-815: The late 1950s, the BBC Radiophonic Workshop began using tape loops to add special effects to some BBC programming. Several different configurations of tape loops were employed in the early years of the WDR Studio in Cologne. One such arrangement was used to build up multilayered textures by sequentially recording sounds with the erase head disconnected or with a customised arrangement of the heads. Gottfried Michael Koenig applied this method in 1954, in his Klangfiguren I . In Canada, Hugh Le Caine produced "a particularly clear and memorable example of musique concrète " in 1955 titled Dripsody . It

2242-420: The late 60s she became more interested in tape feedback. She composed several pieces ( Jouet Electronique [1967], Elemental I [1968], Stress-Osaka [1969] , Usral [1969] , Ohmnht [1970] Vice Versa, etc [1970]) by processing the feedback between two tape recorders and a microphone. Halim El-Dabh , who experimented with tape music from the early 1940s to the 1950s, also utilized tape loops. Beginning in

2301-400: The listener the true directional sound characteristics of real stereo. In some cases, the effect was enhanced with reverberation and other technical tricks, sometimes adding stereo echo to mono tracks in an attempt to fool the listener. Capitol employed this technique in order to increase its inventory of stereo LPs, thus satisfying retailer demand for more stereo content (and helping promote

2360-493: The mono mix of the song, and could not (with the pre-digital technology of that time) be extricated and discreetly superimposed onto the stereo mix. Later remixes of the song, such as that included in the Love soundtrack album, are in true stereo for the complete song. Similarly, the mono mix of the song " Only a Northern Song " featured sound effects that were made during the mixing process and could only with difficulty be remade for

2419-410: The particles and to lubricate the entire assembly, the disc runs inside a sealed can with enough of a special insulating oil to assure that an even coating is applied as it spins. The effect resembles an echo, but the whimsical nature of the storage medium causes variations in the sound that can be heard as a vibrato effect. Some early models featured control circuitry designed to feed the output of

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2478-714: The read wiper to the write wiper, causing a reverberant effect as well. Many different companies marketed these devices under various names. Fender sold the Dimension IV, the Variable Delay, the Echo-Reverb I, II, and III, and included an oil can in their Special Effects box. Gibson sold the GA-4RE from 1965–67. Ray Lubow himself sold many different versions under the Tel-Ray/Morley brand, starting out in

2537-514: The sale of stereo receivers and turntables). For nearly ten years Capitol used the banner "DUOPHONIC – For Stereo Phonographs Only" to differentiate the Duophonic LPs from its true stereo LPs. Capitol began using the process in June 1961 and continued its practice into the 1970s. It was used for some of the biggest Capitol releases, including albums by The Beach Boys and Frank Sinatra . Over

2596-418: The sound of an acoustic space . Straight delay is used in sound reinforcement systems to compensate for the propagation of sound through the air. Unlike audio delay effects devices, straight delay is not mixed back in with the original signal. The delayed signal alone is sent to loudspeakers so that the speakers distant from the stage will reinforce the stage sound at the same time or slightly later than

2655-505: The sounds of the earlier analog units. Abundant main memory on modern personal computers offers ample delay time. In popular and electronic music, electric guitarists use delay to produce densely overlaid textures of notes with rhythms complementary to the music. U2 guitarist the Edge uses delay while he plays arpeggios on electric guitar, thus creating a sustained, synth pad-like background. Vocalists and instrumentalists use delay to add

2714-510: The speed of the tape, and the chosen volume being the main controlling factors. Analog and later digital delay machines also easily produced the effect. It is also sometimes used on instruments, particularly drums and percussion . Flanging , chorus and reverb are all delay-based sound effects. With flanging and chorus, the delay time is very short and usually modulated. With reverberation, there are multiple delays and feedback so that individual echoes are blurred together, recreating

2773-561: The tape loop with an instrumental score. Later on, Gavin Bryars explored a similar concept in composition 1, 2, 1-2-3-4 (1971), played by a small ensemble in which every musician independently tried to reproduce tape recording. In the 1960s and 1970s, use of tape loops made a breakthrough in popular music . As they progressed towards their " psychedelic " phase, the Beatles increasingly experimented with new technology and tape recorders,

2832-408: The tape path running from the one to the other. By using this method, some composers could create very long loops which allowed for sounds of greater duration. When recording his landmark 1978 ambient album Music for Airports , Brian Eno reported that for a particular song, "One of the tape loops was seventy-nine feet long and the other eighty-three feet". The longest open tape loop ever created

2891-405: The time before playback of the delayed signal. Most also allow the user to select the overall level of the processed signal in relation to the unmodified one, or the level at which the delayed signal is fed back into the memory, to be repeated again. Some systems allow more exotic controls, such as the ability to add an audio filter and modulate the playback rate. While the early delay units with

2950-547: The years, however, some Duophonic tapes were confused with true stereo recordings in Capitol Records' vaults, and were reissued on CD throughout the 1980s and 1990s. Capitol intentionally reissued some of the Beatles ' Duophonic mixes on The Capitol Albums, Volume 1 and The Capitol Albums, Volume 2 , in 2004 and 2006, respectively. On rare occasions some artists deliberately used fake stereo to achieve an intended artistic effect. In such situations artificial stereo

3009-563: Was adjusted by varying head position or tape speed. The length or intensity of the echo effect was adjusted by changing the amount of echo signal was fed back into the signal recorded to tape. A landmark device was the EchoSonic made by American Ray Butts . It is a portable guitar amplifier with a built-in tape echo, which became used widely in country music ( Chet Atkins ) and especially in rock and roll ( Scotty Moore ). Dedicated machines for creating tape loops were introduced One example

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3068-414: Was built from the sound of a single drop of water, using a variable-speed tape recorder, tape loops, and just 25 splices. At this same time in Cologne, Karlheinz Stockhausen produced a more ambitious work, Gesang der Jünglinge (1955–56), which made extensive use of tape loops, particularly for its stratified impulse groups and choral swarms. Minimalist composer Terry Riley began employing tape loops at

3127-530: Was developed and initially used by musique concrète and tape music composers, and was most extensively utilized by Steve Reich for his " phasing " pieces such as " Come Out " (1966) and " It's Gonna Rain " (1965), and by Karlheinz Stockhausen in Gesang der Jünglinge (1955–56) and Kontakte (1958–60). Stockhausen also used the technique for live performance in Solo (1965–66). If, instead of simply playing back

3186-400: Was made by Barry Anderson for performances of Stockhausen's Solo , but closed cartridges commonly make much longer lengths available. By accelerating the speed of a loop to a sufficient degree (e.g., 1,280 times faster), a sequence of events originally perceived as a rhythm becomes heard as a pitch, and variation of the rhythm in the original succession of events produces different timbres in

3245-435: Was not entirely suited for continuous operation, however, so the tape loop has to be replaced from time to time to maintain the audio fidelity of the processed sounds. The Binson Echorec used a rotating magnetic drum or disc (not entirely unlike those used in modern hard-disk drives ) as its storage medium. This provided an advantage over tape, as the durable drums were able to last for many years with little deterioration in

3304-419: Was produced from tape echo on these old records is extremely lush, warm and wide." Tape echoes became commercially available in the 1950s. Tape echo machines contain loops of tape that pass over a record head and then a playback head. An echo machine is the early name for a sound processing device used with electronic instruments to repeat the sound and produce a simulated echo. The time between echo repeats

3363-458: Was the AMS DMX 15-80 of 1978. As digital memory became cheaper in the 1980s, units like Lexicon PCM42, Roland SDE-3000, TC Electronic 2290 offered more than three seconds of delay time, enough to create background loops, rhythms, and phrases. The 2290 was upgradeable to 32 seconds and Electro-Harmonix offered a 16-second delay and looping machine. Eventually, as costs came down further and

3422-433: Was the appearance of software -based delay systems. In large part, this coincided with the popularity of audio editing software. Software delays, in many cases, offer much greater flexibility than even the most recent digital hardware delays. Software implementations may offer shifting or random delay times, or the insertion of other audio effects in the feedback path. Many software plugins have added functionality to emulate

3481-467: Was used when certain elements of a mono mix could not be reproduced for a stereo remix. An example is the Beatles' stereo mix of the song " I Am the Walrus ", where the first portion of the piece is true stereo, but switches to artificial stereo at approximately the two-minute mark for the remainder of the song; this is because the live radio feeds from a BBC broadcast of King Lear were mixed directly into

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