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- Adjusting the delay time, level, and feedback parameters
- Utilizing a low-pass filter and polarity reverse
- Setting up an effects loop
- Setting the delay time by tempo or by ear
- Understanding the distinct uses of short, medium, and long delays
- Adjusting modulation rate, depth, and shape
- Adding double tracking and spreader effects
- Manipulating tone with constructive or destructive interference
- Creating a comb filter and flange effect
Skill Level Appropriate for all
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.