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In this installment of Foundations of Audio, author Alex U. Case explains the fundamentals of delay and modulation effects and how to apply these effects, technically and creatively, to improve the sound of a mix. The course covers adjusting individual parameters such as delay time, level, and feedback; working with long delays to create echoes, enhance groove, and add support; using delay modulation for chorus and doubling effects; and dialing-in spectral effects from delay, such as flanging. This course also includes Get in the Mix (GITM) sessions for both Avid Pro Tools and Apple Logic Pro. Exercise files are also included with the course.
Let's take stock of how much we've accomplished so far in this course. Long delays are used to create echoes, emphasis, support, groove, and slapback. Medium delays are used to create doubling, chorus, spreading, and thickening. Next we'll tackle the third and final class of delays, short delays. Short delays live entirely below about 15-20 milliseconds. When delays are this short, we get new types of effects. The constructive and destructive interference patterns, unique to such short delays, lead to strong spectral effects.
A quality not part of the long or medium delay effects we've been using. Equalizers are thought of as the primary tool for altering the frequency content of a signal. In this chapter, I'll show you how short delays can be used to manipulate frequency. Add a short delay to a track and it causes that unique comb filter frequency response. Kick in the modulation section and that comb filter starts to sweep up and down along the frequency axis. We call this effect flanging. We dial-in these effects next.
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