APPLICATIONS
Vlhile
the EFFECIRON II
is
caSnble
of
providing
a
very
large array
of
effects, they all fa1I
into
the basic
categories
(or
corbination of these)
outlined
below:
1,
SIRATGE
DtrAy
d.
DISCREIB
rcfDs,
STAPBACK
b.
DOUBLM,
TIIICKENII\E,
BROADENIIiG
C.
PRE.REVMB
DEI,AY
d.
IIAAS-EF.FM
IIiAGE
SHIHITI\G
2.
FEmBACK
QE
SIXoRT DELAyS
€1. @l{B
FILIF,RII.IG
b.
FIAIGI}G
C.
FIATGI}G
WITTI
FEDBACK
d. FEMBACK
PHASE II$/mSION
€.
IUNM
RESOIiBNCE
3.
FEmBACK
8F
rOlC DETAyS
d.
IVIT]LTIPLE ECIOS
4.
TIME
BASE
}ICDTIIATION
EI.
MANUAL PIrcH
SHIFTII\re
b. VIBRAIO, ALIIOIvIATIC
PIrcH
SI'IEEPIIG
5. INFINITE REPEAT
1.
SIRAIG{I DEI,AE
Sound
travels in air at a finite sSned
-
approxirnately 340
reters
per
second
(1100
feet
per
second),
or about
one foot
trnr
rnillisecond
--
and rwry
of ttre uses of a
digital delay
processor
involve t}re
controlled
electronic
recreation of effects
which
occur in acoustics
due to this finite
sped.
For
instancer for
practical
reasons, vocal-s
and
instrunentals
are usually
recorded in a nearly anechoic fashion by
close-miking
in an acoustically
absorptive studio,
but
this soretfures
yields
an anenic,
uninteresting sound.
!{henever lre hear vocal instrunental
sounds
in
a
living
room or
concert
envirorurent, the
dry
sound is accompanied
by
reflections
off nearby
vn11s,
floor and furniture.
Itrese early
reflections accorrgEnying
the direct sound
-
slightly delayed
because of ttreir longer airtruttr
-
add
aptrnrent
volure
and fullness and thus enrich ttre character of ttre sound.
9
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