b.
If
the
delay
is 10 to
20
dB
lower in 1evel
than the source,
it
will
be
trnrceived
as an echo
.-
especially if it is
placed
in
the
otr4nsite
channel.
ff ttre
delay
is reproduced at ttre sane level
as
the source,
it will
be
identified as a repeat rattrer ttran as an
echo such
as from a distant
waII
or canlon.
DOUBLII{G,
$TICKENI}re,
BROADENII\IG
fip
voices singing together,
or a single
voice wtrich is
double-
tracked
(overdubbed
to
accorpany
its
previously
recorded
self)
produce
a conbined
sound
r*rich is richer and rnore interesting ttran
sinply
turning up
a
single
vocal
track
3
dB
in leveI. Ote reason
is
that
ttre trrc separate
voices
are never recorded
in exactly
precise
slmchronisrn.
Ihe
waveform
of one
is
usually
a few
milliseconds atread
or
behind
ttre other despite
ttre npst
careful
of
rehearsals.
Itris
effect
can be
simulated
with any
single source
sinply by
delaying
it
by
16
to
64
milliseconds and mixing ttre delayed signal
with ttre original
at equal
leveIs.
Ttris
is
caIled
doubling. It
thickens
the texture
producing
a rnore
"fu11-bodied'r
sound
vitrile
it
increases
ttre atr4nrent
loudness without
significantly
raising
W
reter
Ievels.
It is
trnrticularly
useful
for adding strength and
character
to a thin-sounding
vocaI.
You
should
experirnent
with
the
legnth of ttre
delays
used for
doubling.
With delays
in
ttre
16-20 rS range, the sound
rqnains
relatively tight
and
focused.
Delays
of 30-40
nS
produce
a
rpre
obvious broadening.
Doubling
with
delays
shorter ttran about
15 mS
is not
reconnended because of
ttre risk of coloration due to corb
filtering.
If
you
extend thre delay beyond
about 40 mS it may
be
heard as a
distinct
echo.
Itris
process
simulates
two vocal tracks
with
a sna11, but
constant
delay
between
them.
Of
course,
l*ren real voices
are
recorded
or
overdulcbed,
ttrey have
varying
sna11 differences between them.
So,
to
make its doubling seem
nore realistic,
use
ttre IIffiUIATOR
to
continuously
vary
ttre de1ay. Ihe
action nu.rst be sulctle so as to
avoid
audible
pitch
wobble. Setting
the
widttr
and
speed controls
both
to between
7:00 and
9:00
orclock,
usually
produces
a
pleasingly
realistic doubling
effect
wittr
no audi"ble side effects.
PRE.REVMB DEIAY
Authentic
acoustic reverberation
in a large
space
requires rnany
dozens
of
milliseconds to buildup,
Brt, in nany
studio
reverb
units
(spring,
plate
or
acoustic
chanrber)
an
outptrt
signal
begins
to
atr4nar
very rapidly after ttre onset of ttre
inpt signal.
Ihe
subjective
trnrfornnnce
of
reverberators is usually
inproved
by
delaying
the signal
fed to them. Both the AE[4
256 and ttre AD['I
1024 can
provide
this
deIay. ftle delays used
for
doubling
often
serve
as
pre-reverb
delays.
C.
II
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