The use of delay in multitrack production

Abstract

Delay, inevitable whenever sound propagates through space, is too often the bane of the acoustician’s practice. An audible echo generally relegates a music performance hall—no matter how beautiful it otherwise might sound—to the lowest status. Multitrack music production on the other hand, with its aggressive use of overdubbing, editing, and signal processing, is not bound by those rules of time and space which determine the sound of a hall. In the recording studio, where music is synthesized for playback over loudspeakers, the delay is employed as a powerful, multipurpose tool. It is not avoided. It is in fact embraced. Echoes are used on purpose, strategically, to enhance the loudspeaker listening experience. Moreover, the humble delay is the basis for many nonecho effects. Flanging, chorus, and pitch shifting are delay-based effects regularly used in audio engineering practice. This paper discusses some of the more common delay-based effects, reviewing their technical structure, the psychoacoustic motivation behind them, and the musical value they create.