ltre
pitch
of ttre tuned resonance may be varied
dynardcally
by
rreans of the \rcO
-
t1picaIIy by setting
ttre WIDIH
close to
maxinnrm
SPED
between
9:00 and 12:00
orclock.
An unpitched
broadband sound such as a retrnating drunbeat
can be
made
to sourd
rather
like a
guitar.
3.
FEEDBACK
CE
rOIG DEIAyS
In terms of
control
olnration, the feedback of long
delays
is
essentially
the sane as that
for
short deIa1e. Ttre
feedback
of
long
de1a1e
is
prinnrily
for the creation of strings
of echos.
d.
I{T]LTIPtE
ECHOS
flo create
a string of echos, setup a
long
delay
(over
40 tns) to
produce
a discrete
echo and
then use
feedback
to
rec1rcIe
ttre
signal
retrntitively
ttrrough
ttre deIay. In
general,
echos are
rpre
interesting if ttrey are separated s5ntial1y
from
ttre dry
source
and from each other by
pnning
at
ttre
mixing
@nsoIe.
4.
rI![E
BASE }MINATION
!tuch of the EFFECIRON
II
I
s flexi-bility
and
usefulness
as a
studio
or
onstage
tool arises from
its ability
to
vary the sped of
ttre
nclockn
rrfiich
governs
how
rapidly signals
are
shuttled
ttrrough the digital
nemory,
under eittrer
manual or automatic
control.
Itre
effects obtainable by
varying ttre clock are easily
understood by analogy
with a
tape
recorder having
variable
tape speed
l*rose
recording and
plalback
heads are
separated
by sone distance. Ihe tiredelay between
recording
and
plalback
is
governed
by ttre selnration
of
ttre
heads and by the tape
sped.
ff
ttre
sSned
is
doubled, the taSn
will
traverse ttre distance
in half
the
tiJre. As
long as
the tape strned
remains
constant
wtrile
the tatrn
is
beirg
recorded
and
played,
then
ttre tatrn
speed
will
affect only
ttre deIay. Blt if
the
tape
is recorded at
7
V2
ips and ttren
the speed
is
doubled before
ttre
tape arrives at the
plalback
head, ttre
waveforms will
trnss
ttre
plalback
head
twice as rapidly as they
Snssed
the
recording head
and ttre frequency
of each
sound
will
be doubled,
i.e.7
ttre
nusical
pitch
will
rise
an
octave.
Tflus,
a
change
in
tape
speed
vtrich
@curs in ttre
interval
betueen recording
and
plalback
alters
not only
ttre delay tine,
but also
the
pitch
-
delay
npdulation
causes
pitch
npdulation.
EI. MANT]AL PIrcH
SIIIFTII\G
fhe
DELAY FACTOR control
adjusts
ttre clock speed over a 4-to-1
range
and consequently
is
catrnble of
varying
the
pitch
of a
mrsical tone over a 4-to-1
range in frequency
-
or
two fu1I
octaves
in
pitch.
ltris
is easily
deupnstrated
wittr
the
aid
of ttre
infinite
retrnat rode.
Set
ttre
DEIAY FAetOR
control to
XI,
set
delay
maximum and nonitor ttre delayed output. PIay
"middle
C',
for exalrple, and
l*rile
ttre
note is
soundingr
Srsh
the
retrnat
button to store
a fragnent of ttre note
in menpry. Itren,
vary
ttre
DEI,AY
FACTOR
from
XI dovn:
to X.25
and
as
lou
&, the
pitch
of
ttre
recirculating
sound
will rise by atrproximately trtro
octaves
and
it
1s
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