I. INTRODUCCIÓN
1.3. Teorías relacionadas al tema
1.3.2. El Polígrafo
1.3.2.8. Confiabilidad de la prueba poligráfica
The Delay module takes the input signal and plays it back through four taps, each delayed by a certain amount of time. The output can be fed back to the input, thus producing a series of echoes, and mixed with the straight signal
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Note that because no sig-nal is allowed into the reverb section when Input Mute is on, you will hear nothing if the Mix control is set fully clockwise (“wet”).
Parameters
dry/wet determines the balance of the delayed (wet) and straight (dry)
signals; you rarely want to hear the sound of the delayed signal by itself. With longer echoes, the amount of delayed sound will depend on how “murky” a sound you want: increasing the amount of delayed sound gives a swimming-in-echo effect, while adding in only a little delayed sound provides more of an ambience effect.
tiMe sets the amount of delay time (i.e., the time interval between the
straight sound and the appearance of the echo).
feedbaCK determines how much of the output feeds back into the input.
Minimum feedback gives a single echo; increasing this makes the echoes repeat.
rate sets the modulation frequency. A slower rate produces a slow, gradual
detuning that gives a majestic, rolling chorusing or pseudo-flanging sound. Faster rates produce a more “bubbly” effect.
deptH determines how much the modulation section varies the delay time.
With longer delays, adding a little bit of modulation can give chorus-like sounds, but too much modulation will cause detuning effects. Note that the rate parameter interacts with the depth parameter because the total amount of pitch change depends not just on the amount of pitch change, but also on the rate. For example, combining full depth with a fast rate setting can sound out of tune, whereas the same amount of depth coupled with a slow rate sounds just fine.
tap tiMe allows setting the delay rhythm by clicking on the tap tiMe button.
The Quad Delay measures the time between clicks, and uses this to derive the tempo; it will also average the time between multiple “taps”.
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input Mute shuts off the signal going to the Quad Delay’s delay section,
but lets any dry signal pass through. One application would be to control this function with a footswitch; when you hit the footswitch, any existing echoes would continue until they faded out, but no new signals would be fed into the Psychedelay, so there would be no new echoes.
Click on the (+) SyMboL to reveal expert mode, with the following
parameters.
SynC synchronizes the LFO speed to the metronome tempo, which is derived
from the SynC setting in the Toolbar.
invert changes the phase of the delayed signal, so that different frequencies
cancel when mixing the delayed signal in with the dry signal. The result is particularly noticeable in Flanger-like effects involving short delays. SynC deLayS when on, insures that the delay tap times have a regular
pattern (for rhythmic delays), and the modulation LFOs are in phase for a “hard” sound. When off, the delay tap times are irregular (for reverb-like delay) and the LFOs are free-running, which produces a “lusher” sound. diffuSion spreads out the delay tap times for the four delay lines that make
up the effect.
baSS adjusts a high pass filter; turn coungterclockwise to reduce low
frequencies.
trebLe adjusts a low pass filter; Turn counterclockwise to reduce high
frequencies.
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Note that because nosignal is allowed into the delay section when Input Mute is on, you will hear nothing if the Dry/ Wet control is set fully clockwise (“wet”).
4.13.4 Psychedelay
This true stereo delay (both ins and outs are stereo) creates sounds that range from standard echo/ambient sounds, to reverse-based effects that recall the “backwards tape” sounds of the 1960s.
Parameters
dry/wet sets the balance of straight and delay sounds. Counterclockwise
is dry sound only; turning clockwise adds more delay effect.
tiMe adjust the initial delay time, from 10 ms to 2000 ms. This parameter
is also influenced by the Stereo: tiMe control in expert mode. Note that
very short delay times give complex, ring modulation-type tones.
reverSe plays back subsequent echoes in reverse, like the reverse tape
sounds commonly heard on many albums from 60s (especially Jimi Hendrix).
detune detunes echoes up to ±50 cents. Combining this with feedback
causes successive echoes to have ever-increasing amounts of detuning. feedbaCK determines how much of the output feeds back into the input.
Minimum feedback gives a single echo; increasing this parameter produces repeating echoes. As noted above under “Detune”, Feedback interacts with the Detune parameter.
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tap sets the delay rhythm as you click on the tap tiMe button. This function
measures the time between clicks, and uses this value to derive the tempo; it will also average the time between multiple “taps”.
input Mute shuts off the signal going to the Psychedelay’s delay section,
but lets any dry signal pass through. One application would be to control this function with a footswitch; when you hit the footswitch, any existing echoes would continue until they faded out, but no new signals would be fed into the Psychedelay, so there would be no new echoes.
Click on the (+) SyMboL to reveal expert mode, which has parameters that
turn the Psychedelay into a stereo effects box. You’ll find the following options.
pitCH adds a more extreme amount of detuning by transposing the echo
in semitones, from –12 to +12. It interacts with the feedback control in the same way as detune (i.e, each successive echo will be transposed an
additional amount upward or downward, as set by the Pitch value). Stereo: Time, when turned clockwise, creates stereo echo effects. At 1.00,
the delay time is set solely by the main Time parameter. Settings of less than 1.00 place echoes in the stereo field, with the number indicating division (e.g., a setting of 0.50 means that the extra echoes will happen at half the time of the main delay setting).
reverSe causes these additional delays to play back in reverse, like the
main delays when the Main reverSe button is enabled.
detune allows the main Detune parameter to affect the added stereo echoes
as well.
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Note that because nosignal is allowed into the delay section when Input Mute is on, you will hear nothing if the Dry/ Wet control is set fully clockwise (“wet”).
CroSS creates feedback paths that cross between the two channels – right
feeds back into the left channel, and left feeds back into the right channel. This creates a more complex, polyrhythmic type of echo effect.
SynC synchronizes the LFO speed to the metronome tempo, which is derived
from the SynC setting in the Toolbar.
For some amazing effects, on the main panel set a fairly short Delay Time (e.g., 200 ms), Detune to +50 cents, and Feedback to maximum. In the expert section, set Stereo Time fully clockwise (0.50), detune to On, and Cross up full. Hit a note, and it will stretch upward and then decay…very cool.