"Jim Lesurf" wrote in message
...
In article , Iain Churches
wrote:

Also, you can delay the reverb or reverb the delay. Totally different.

Could you explain that. Not clear to me what you mean. Linear processes
usually commute even if not invertable.

The principles are the same if you use an old Ferrograph and a
Grampian S1 or a Bricasti. It is helpful to demonstrate the
routing with separate stand-alone units so that students
can physically connect them as building blocks.

These are the two basic delay/reverb approaches on which
are based a very large number of variants.

In the first you use a delay, which you do not bring back to
the return signal loop, but use to feed the reverb, the output
of which is then brought back to the mix. The result is the
original dry sound, followed by a pause, but no repeat,
then the reverb.

In the second, you use a delay which you bring back,
as a repeat of the original signal. You then add reverb
to this which you also bring back to the mix. The result
is the original dry sound, followed by a repeat with
reverb on it.

Despite Dave's claim that "pretty well
all of these offer the same effect" in actual fact the
number of variation is only limited by one's
imagination.

The first interesting variant that comes to mind
is created by using two reverbs of different lengths,
one for the main signal and one for the delay, and
returning the reverb of the original signal and that
of the reverb panned to opposite sides.

You can also create multiple delays/reverbs known
as flutters, which can be panned across the stereo
soundstage. A good and obvious example, often heard,
is flutter tambourine, where the the original signal was
panned left, the early repeat/reverb brought back centre,
and subsequent repeats lengthened and attenuated
progressively while being brought back panned further
and further right. This give the impression of a tambourine
struck on the left and then passing across the sound stage
and disappearing into the distance far right.

Everyone who listens to records has probably heard this
kind of thing, although they may not have recognised it,
or stoppped to think how it was done.

These are effects that recording personnel must be
able to identify and create and quickly, and form an
important part of the recording arts training syllabus
with interesting workshops finding the answer to the
question: "How was that done?"

Modern digital processors such as the ubiquitous
Lexicon PCM96, popular in well-equipped studio
control rooms, and used by most teaching facilities,
incorporate a large number of very good sounding
presets which may well be exactly what you are looking
for. There are also User Registers in which can store
your own settings, (Earl Bostic for example:-) and even
Favourites from which your most used effects can be
quickly selected


Iain

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