Delay medio: Slap Back

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Из курса от партнера Berklee College of Music

Introducción a la producción de música

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Berklee College of Music

Introducción a la producción de música

170 оценки

Курс 2 из 4 — Specialization El Músico Moderno

Aprende sobre el proceso de producción de música -incluyendo la grabación, la edición y la mezcla- y sobre las herramientas disponibles para crear música contemporánea en tu computadora. Esta obra fue financiada con una donación del Banco Inter-Americano de Desarrollo con recursos del Fondo Coreano para la Reducción de la Pobreza. Las opiniones expresadas en esta obra son exclusivamente de los autores y no necesariamente reflejan el punto de vista del Banco Interamericano de Desarrollo, de su Directorio Ejecutivo ni de los países que representa. El Banco Interamericano de Desarrollo no garantiza la veracidad de la data incorporada en esta obra. Puedes cambiar el idioma en Coursera de inglés al español utilizando la página de ajustes de tu cuenta. Para cambiar los ajustes en tu cuenta de Coursera sigue los siguientes pasos: 1. Ve a coursera.org 2. En la esquina derecha superior haz click en el pequeño triángulo invertido que está a lado de tu nombre y foto. 3. Haz click en ‘Settings’. 4. Selecciona el recuadro debajo de ‘Language’ (idioma), selecciona español y salva los cambios realizados. Coursera ofrece ayuda financiera a los estudiantes que no pueden pagar los cursos y necesiten de una beca. Los estudiantes con ayuda financiera podrán tener acceso a todo el contenido del curso y completar todo el trabajo requerido para adquirir el Certificado de Coursera. La ayuda financiera solo aplica al curso en el que se aprobó la solicitud de ayuda financiera. Para aplicar haz click en la opción “Learn More and Apply” (aprende mas y aplica) debajo del menú a la izquierda.

Из урока

Filtro y efectos de delay

El sonido grabado puede modificarse usando herramientas que efectúan cambios en la calidad real del sonido. Esta semana veremos la ecualización y el delay, y estudiaremos los diversos efectos de sonido que se derivan de estos dispositivos.

Resumen de la lección3:16

El concepto del delay4:21

El espectro del delay9:45

Delays cortos modulados12:17

Resumen de filtros12:32

Delay medio: Slap Back4:38

Delay largo5:45

Reverberación10:57

Amplitud en la mezcla3:20

Espacio en la mezcla7:13

Познакомьтесь с преподавателями

Loudon Stearns
Assistant Professor
Contemporary Writing & Production

Now we'll increase the delay time slightly to get to our medium delays.

Now these won't be modulated. They're going to be static delays and

their, they much more represent things we hear in the real world.

And the first really important use of a medium delay is what we call a slap back

delay. And it's just a quick repetition that we

hear. So it will be a short delay, and with no

feedback. And it's a great way to get the sense of

something being in a room. Because every time you are in a room

talking there's a wall there somewhere, and the sound bounces back at you.

Now, if you have two parallel hard surfaces, and you clap your hands in that

room, you can hear like a ringing, over and over.

We call it a flutter echo. And that's the equivalent of having a

slap back delay with a higher feedback. Usually we try to avoid that kind of

sound, but the slap back delay is very, very useful, sounds great on guitars and

also vocals. People often move to a reverb right away.

Which we'll talk about in awhile. But people often jump on using a reverb

to create the sound of a space, to make people think that the sound was recorded

in a larger room than it was. But often a reverb can fill the mix with

kind of a noise. It can be, it can be a little

overwhelming. And a lot of times a slap back delay is

all you really need to give an element a sense of space.

As we move into medium and long delays we start imitating the sound of real spaces.

We also will start moving into more complex delay plugins like the stereo

delay we're seeing here. Hopefully, many of the knobs look

familiar on the stereo delay plug-in, really it's just two simple delays, one

for left and one for right. Let's look at it.

First we have a delay time for the left hand side then we have a feedback control

for the left hand side and we have a dry/wet control for the left hand side.

Additionally, we've add, we've added cross-feedback, which allows us to feed

back the left signal into the right-hand side, and we have cross-feedback from

right to left. These are very common controls on a

stereo delay. One unique thing that this has added is a

filter inside the feedback path which allows the sound to get progressively

more filtered with each delay which helps make the delay sound different from the

dry which can be very nice at higher feedback settings.

One thing we notice in real rooms is that when playing an instrument in a real

space, you'll often hear a very loud reflection off a nearby wall.

And that reflection can really identify the sound as being in a space.

And we can emulate this perfectly with a very simple delay.

Set around 80 milliseconds for our Delay Time.

And an Output Dry Wet of around 20%. First, we'll hear the keyboard part

without this, and then we'll introduce the slap back delay so we can hear what

it sounds like. [MUSIC] So this keyboard part's a little

dry, a little too much in your face, and a little without space.

[MUSIC] [SOUND] As we add the slap back delay, which is a simple short delay, we

start getting a sense of being in a space.

It's subtle, but it really is important for mixing.

Let's try this again. First without the delay.

[MUSIC] And then with it. Without.

[MUSIC] . And when I stop, you hear that

[INAUDIBLE] delay at the end. So that can be quite effective.

Now, if I bring the dry/wet up more, it might be a little too much.

Let's hear. [MUSIC] .

[MUSIC] As you get too much wet, it starts sounding artificial.

So just a little bit is all it takes to create the sound of a real space.

Now if you want to take this idea of a slap back delay even further, you might

want to change the delay time just slightly in the right and left hand

speaker. That would tend to emulate being a

different distance from two walls in the same space.

Let's try just a little bit different in the right-hand side.

Let's hear it first dry [MUSIC] and then with the delay [MUSIC].

[SOUND] With headphones on that really gets wide.

I really notice those delays out to the side, and the dry signal in the middle.

Please try out the slap back delay. Often, this kind of a delay is actually

better than a reverb for creating the sound of a space.

Because in many rooms all you notice is that signal reflection.

And often a stereo delay is all you really need to get that width and the

sense of being in a space.

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