![]() It governs by how much the overlapping iterations will be cut. If you make this value really small, you essentially cut out the tail.ĭamping is like the decay amount in the delay effect. Reverb time affects the duration of the reverb from swell to release. A bigger roomsize will make the “tail” of the reverb last longer and make the swell louder. This is because you’re essentially re-recording the sound in a virtualized space. Reverb can help shape your sound and bring out some overtones, and it really helps make clips sound more natural. Reverb won’t add echoes it’ll start building sound up, allow it to peak, and then release it over a period of time. Reverb’s a little more complicated because it has more to do with acoustics. You can set the decay factor to 1 (no decay), and you’ll get a loop the audio will repeat with the delay time, but there will be no drop in volume each time and can go on infinitely. Be sure to add silence at the end of your track to accommodate the echo. You can change the delay time and the decay factor and you’ll instantly get a very long echo past your track. The echo is a shortcut effect to an very long regular delay. This effect can really help bring out overtones in musical tracks and helps add a limited sense of depth to your audio. Unless you want to add a simple and quick echo, use delay. It’s best to add silence at the end of your track before adding a lot of echoes, and trimming off the extra after you apply the effect. Keep in mind that if you don’t have enough silence at the end of your track, these will be cut short. The last value you can change is the number of echoes to produce. This is another effect found often in pop. The pitch change is measured in semitones, and this will cause the pitch to shift up (or down, if the value is negative) in each subsequent echo. The delay time (in seconds) is the maximum time between each iteration. Pop songs often start with this “building” volume delay in the intro, with a crescendo rising and the artist suddenly breaking the music with a word or phrase. Using negative values will increase subsequent iterations’ volume. The decay amount is the value (in dB) by which each iteration will decrease its volume. This last one is often used in reverse effects, a topic we’ll cover in another article. A reverse bouncing ball delay will start with quick iterations and a low delay time, then gradually slow down until it reaches the max. A bouncing ball delay will start at the delay time and will occur increasingly quickly, the time dropping between each iteration. The regular delay will have a fixed time period in between each individual interation. There are three types of delay patterns in Audacity: regular, bouncing ball, and reverse bouncing ball. You can think of it like an overlapping echo, where instead of full repetitions with a delay in between, an iteration starts very soon after the sound begins and while it’s still going on. Then, after the buildup, the sound will release slowly. There’s a spike that occurs as the sound builds up, so your initial noise isn’t the loudest that it’ll get. A good example of this is when you clap or shout in medium sized room with all of the doors closed. This occurs when echoes build up in an enclosed space and cause a volume swell, which then decays as the sound slowly escapes. Delay is a customizable thing, and can alter the sound during each iteration. In audio editing terms, though, an echo is considered to be a specific type of delay, one that decays but reproduces the sound otherwise accurately. The sound waves are emanating from your mouth, traveling some distance, bouncing off of a solid surface, and returning back to your ears after a period of time. Shouting into a canyon or wide space will give you an echo. ![]() It’s a repeated iteration of a sound that occurs with a diminished volume and after a brief period of time. Delay, echo, and reverb are all different aspects of the same process: repetition of a sound over time.
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