114 Sentences With "flanging" | Random Sentence Generator

They're also known for their elaborate camouflage and the flanging tips on their fingers and toes.

In the 1970s, advances in solid-state electronics made flanging possible using integrated circuit technology. Solid-state flanging devices fall into two categories: analog and digital. The flanging effect in most newer digital flangers relies on DSP technology. Flanging can also be accomplished using computer software.

The original tape-flanging effect sounds a little different from electronic and software recreations.REAPER Not only is the tape-flanging signal time- delayed, but response characteristics at different frequencies of the tape and tape heads introduced phase shifts into the signals as well. Thus, while the peaks and troughs of the comb filter are more or less in a linear harmonic series, there is a significant non-linear behaviour too, causing the timbre of tape-flanging to sound more like a combination of what came to be known as flanging and phasing.

In contrast, flanging relies on adding the signal to a uniform time-delayed copy of itself, which results in an output signal with peaks and troughs which are in a harmonic series. Extending the comb analogy, flanging yields a comb filter with regularly spaced teeth, whereas phasing results in a comb filter with irregularly spaced teeth. In both phasing and flanging, the characteristics (phase response and time delay respectively) are generally varied in time, leading to an audible sweeping effect. To the ear, flanging and phasing sound similar, yet they are recognizable as distinct colorations.

Flanging, chorus and reverberation (reverb) are all delay-based sound effects. With flanging and chorus, the delay time is very short and usually modulated. With reverberation there are multiple delays and feedback so that individual echoes are blurred together, recreating the sound of an acoustic space.

From that point, when Lennon wanted ADT he would ask for his voice to be flanged, or call out for "Ken's flanger". According to Lewisohn, the Beatles' influence meant the term "flanging" is still in use today, more than 50 years later. The first Beatles track to feature flanging was "Tomorrow Never Knows" from Revolver, which was recorded on 6 April 1966. When Revolver was released on 5 August 1966, almost every song had been subjected to flanging.

Lennon dubbed the technique "flanging" after producer George Martin jokingly told him it was produced using a "double-bifurcated sploshing flange".Martin, George; Pearson, William; Summer of Love: The Making of Sgt. Pepper, London, Pan Books, 1994, p. 82. . Only years later did Martin learn that another technique, also called flanging, was already in use.

The museum displays early machines and carriages built by the family, including a flanging machine, drills, a farm cart and more special vehicles.

This song makes prominent use of the flanging effect, especially on the drums and cowbell. This is also the longest song on the album.

Valhalla Space Modulator is a plugin, free with the purchase of any other ValhallaDSP plugin, which simulates some kinds of flanging and pitch shift effects.

Delay effects are similar to reverb. Added to this was a modulation depth parameter so the user could create chorus and flanging effects as well as delay.

The CS1x employs various arpeggiator presets and effects such as reverb, chorus (including flanging and celeste) and "variation" (a combination of reverbs, delays, modulation effects and equalisation).

Gold Star was responsible for what is believed to be the first commercial use of the production technique called flanging, which was featured on the single "The Big Hurt" by Toni Fisher, written and produced by Wayne Shanklin, who also originated the flanging technique. This was done by placing his thumb on the "flange" of the recording tape reel during vocal playback, which caused the flanging effect when mixed in with the original vocal track. Another of Gold's innovations was a small transmitter that allowed him to broadcast mixes so that they could be picked up on a nearby car radio, which was especially important to recording artists in the era when AM radio was the dominant broadcast medium.

Effects types include pitch shifting, distortion, filtering, wah- wah, tremolo, flanging, delay, reverberation, auto-panning, gating, phasing, and ring modulation. The Kaoss Pad can also be used as a MIDI controller.

Spectrograms of phasing and flanging effects Flanging is one specific type of phase-shifting, or "phasing". In phasing, the signal is passed through one or more all-pass filters with non-linear phase response and then added back to the original signal. This results in constructive and destructive interference that varies with frequency, giving a series of peaks and troughs in the frequency response of the system. In general, the position of these peaks and troughs do not occur in a harmonic series.

American music industry veterans David S. Gold and Stan Ross, founders of the renowned Gold Star Studios in Hollywood, claim that "The Big Hurt" was the first commercial recording to feature a technique (or effect) now known as flanging. This "jet plane-like" sound effect may also be familiar to those who have listened to long-distance shortwave radio music broadcasts. (In radio, this effect was the result of multipath interference and varying propagation times.) To some, the flanging effect made this record sound like a distant shortwave broadcast.

The song opens with a tom-tom drum beat processed with a distinctive flanging effect, leading to a power chord riff played on distorted guitars that also have a distinctive flanging effect. Initially, the rhythm guitar plays a chromatic riff of power chords ascending from A, to A♯, to B, then E to B, and repeating. The riff gives way to an extended vamp on B major. To conclude the verses and introduce the chorus, the band sings "Ahh" in triads, descending in half notes, from B major to A major, while the music strictly maintains a B power chord.

Flanging and distortion were originally regarded as sonic artifacts; as time passed they became a valued part of pop music production methods. Flanging is added to electric guitar and keyboard parts. Other magnetic tape artifacts include wow, flutter, saturation, hiss, noise, and print-through. It is valid to consider the genuine surface noise such as pops and clicks that are audible when a vintage vinyl recording is played back or recorded onto another medium as sonic artifacts, although not all sonic artifacts must contain in their meaning or production a sense of "past", more so a sense of "by-product".

This follows the same arrangement as the intro although the lead guitar plays a melody line just once during the second half of the section, simply feedingback for the first half. The second verse starts at 1 minute 8 seconds leading into the second chorus which this time features drums fills and rhythm guitar alongside Rhys' vocals. A short bridge plays at the end of the chorus with Rhys singing "Oedd ein cariad ni, heulog tan ddaeth glaw yn llif". Instrumentation is sparse with a guitar, featuring flanging, playing several licks alongside bass and drums, which are heavily affected by flanging.

Mushok uses a Lexicon Rackmount Multi-Effects Processor for the vast majority of his effects, including phase shifting, flanging, and delay. The only pedals he has really used are a Boss OC-3 Super Octave pedal and a Boss NS-2 Noise Suppressor.

A breakdown verse follows, leading into the extended second chorus which features shouted backing vocals chanting the song's title. The outro begins at 1 minute 55 seconds, with lead guitar lines and heavy drums, featuring flanging, bringing the track to a climax.

Besides the use of "found sound" in the interlude section, and heavy use of reverb and echos, the song is notable for its use of flanging, the swept "whooshing" sound effect laid over the entire track, most prominently during the chorus sections.

An example of an ADT variation being used to create an effect more similar to what is considered "flanging" today (rather than phasing) is on the Beatles' White Album tracks "Cry Baby Cry" (acoustic guitar) and "While My Guitar Gently Weeps" (lead guitar).

"Christine" marked a change in musical direction for the band, with new guitarist John McGeoch. The song begins with a distinctive riff played on an acoustic guitar. The post-chorus instrumentation includes electronic organ. The close of the song utilizes a strong flanging effect.

As the weight of the tape built on one reel, the pressure on the capstans caused flanging in mixdown or dubbing. This was a problem faced by studio engineers in the 1960s and 1970s when recording large concept pieces, as explained by Ian Anderson of Jethro Tull when recounting the studio challenges of recording Thick as a Brick. Despite subsequent claims over who originated flanging, Les Paul discovered the effect in the late 1940s and 1950s; however, he did most of his early phasing experiments with acetate disks on variable-speed record players. On "Mammy's Boogie" (1952) he used two disk recorders, one with a variable speed control.

With the rise of psychedelic music, many artists used variations on Townsend's technique to create the "flanging" effect mentioned above, adding a slightly disorienting "swooshing" quality to instruments and voices (although in practice this effect is actually more similar to what today is called "phasing" rather than "flanging"). The Beatles themselves used this effect on "Lucy in the Sky with Diamonds" and more prominently on "Blue Jay Way". A notable example of this technique is "Itchycoo Park" by the Small Faces, where the effect is prominent almost throughout the entire track, particularly on the vocals, drums and cymbals during the chorus. Hendrix also used this technique extensively.

In professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as reverberation or flanging effects, often are called "sound effects".

It is suitable for welding, and suitable for forming operations involving coiling, bending, and flanging. 3\. Types and Grades This specification covers the following types and grades: 3.1 Type F—Furnace-butt-welded, continuous welded Grade A. 3.2 Type E—Electric-resistance-welded, Grades A and B, 3.3 Type S—Seamless, Grades A and B. Note: Type F is not intended for flanging. If Type S or Type E is required for close coiling or cold bending, Grade A is the preferred grade; however, this is not intended to prohibit the cold bending of Grade B pipe. Type E is furnished either nonexpanded or cold expanded at the option of the manufacturer. 4\.

Also known as "infinite flanging", this sonic illusion is similar to the Shepard tone effect, and is equivalent to an auditory "barber pole"."The Sonic Barber Pole: Shepard's Scale". at cycleback.com. The sweep of the flanged sound seems to move in only one direction ("up" or "down") infinitely, instead of sweeping back-and-forth.

Stamping includes a variety of operations such as punching, blanking, embossing, bending, flanging, and coining; simple or complex shapes can be formed at high production rates; tooling and equipment costs can be high, but labor costs are low. Alternatively, the related techniques repoussé and chasing have low tooling and equipment costs, but high labor costs.

Quintorigo is an Italian band founded in 1996 by John de Leo, who left the band in 2005. Their genre vary from experimental, jazz, reggae, pop and rock music. Although the musical ensemble is composed only by acoustic instruments, the band often makes heavy use of sound effects like distortion, flanging and wah-wah.

The track "Tzima N'Arki" contains a reversed vocal track, part of which includes the chorus of Eno's song "King's Lead Hat" (from his album Before and After Science), itself an anagram of "Talking Heads", whose recordings Eno was producing during that period. "Broken Head" makes prominent use of tape flanging on Eno's declaimed vocal.

Tremolo, in electronics, is the variation in amplitude of sound achieved through electronic means, sometimes mistakenly called vibrato, and producing a sound somewhat reminiscent of flanging, referred to as an "underwater effect". A variety of means are available to achieve the effect. For further information about the use of tremolo in music, including notation, see Tremolo.

Thompson, Art (1997) The Stompbox: A History of Guitar Fuzzes, Flangers, Phasers, Echoes and Wahs. Backbeat Books, p. 24. The first hit song with a very discernible flanging effect was "The Big Hurt" (1959) by Toni Fisher.Lacasse, Serge (2004) 'Listen to My Voice’: The Evocative Power of Vocal Staging in Recorded Rock Music and Other Forms of Vocal Expression.

DiPT's effects are primarily aural. At lower doses, Alexander Shulgin reported effects similar to a flanging or a phase shift. At medium and higher dosages, the effect of DiPT is typically a radical shift downward in perceived pitch. This shift tends to be nonlinear, in that the shift downwards varies in relation to the initial pitch.

Accessed 2007-10-01. He integrates additional vocal hooks into the song's bridge while also adjusting its refrain and at one interval includes an ad libitum. At its close, the track enters a flanging extended outro that contains a synth-heavy breakdown. It comes complete with abrasive keyboard stabs, operatic harmonies and somber electric guitars which chime in unison.

While Shepard tones are created by generating a cascade of tones, fading in and out while sweeping the pitch either up or down, barber pole flanging uses a cascade of multiple delay lines, fading each one into the mix and fading it out as it sweeps to the delay time limit. The effect is available on various hardware and software effect systems.

The Marshall Time Modulator is an analog delay line-based musical effects device created by Stephen St. Croix that could be used to produce a wide variety of flanging and chorus effects. It was heavily used by the record producer Martin Hannett, who Paul Humphreys has said "used it on everything". Bands who worked with Hannett described it as the "Marshall Time Waster".

The card was sold with software for building custom SoundFonts. All of Creative's subsequent cards, other than the Sound Blaster PCI64/128 series, support SoundFonts. On the initial release, Creative promoted the EMU8000 as a waveguide physical modelling synthesis engine, due to its ability to work with delay lines. The option was used mostly as an effect engine for chorus and flanging effects.

Strength and rigidity is also provided by the edge treatment such as flanging or wiring, after the fabrication of the correct surface contour has been achieved. The flange is so important to the shape of the finished surface that it is possible to fabricate some panels by shrinking and stretching of the flange alone, without the use of surface stretching.

"The Negotiation Limerick File" is a song by American hip-hop group the Beastie Boys, released as the third single from their fifth studio album Hello Nasty. It peaked at #29 on the Billboard Modern Rock Tracks Chart. The version on the CD single is 30 seconds longer (3:16) than the album version (2:46).CD Single It features extended instrumental sections with flanging effects.

"Map of the Problematique" is an electronic rock song featuring heavy use of synthesizers, distortion, flanging and octave shifting. Written in the key of C minor, it moves in common time at a moderately fast tempo of 130 bpm. Lead singer Matthew Bellamy's displayed vocal range spans from B♭3 to C5. His vocals in the song are overdubbed to create an echo effect.

Rooksby, p. 98–99 The sound of Smith's guitar was a departure from that prevalent in the 1970s. Mike Hedges favored the use of flanging at the time, and he estimated that there were seven flanger devices used on "A Forest". Rikki Rooksby said that the slow phase effect heard on the guitar in "A Forest" "almost became a Smith trademark for a while".

A specific type of phasing, flanging is a similar effect, in which the notches are linearly spaced. In a flanger effect, the notches are created by mixing the signal with a delayed version of itself. Flangers tend to sound more pronounced and natural, like the "jet plane whoosh" effect, whereas phasers tend to sound more subtle and otherworldly. For comparison of the two effects, check .

The hat flanging machine fulfilled all requirements, and after the machine had been working a few months the strikers were ready to compromise. In later years the Hatters Union voted against its use entirely. In October 1878, House suffered a severe shock from the accidental death of his younger son, William Ezekiel House, who was accidentally shot and killed by his cousin, Alfred Bishop Beers, Jr.

For effects, Lifeson is known to use chorus, phase shifting, and flanging. Throughout his career, he has used well-known pedals such as the Electro-Harmonix Electric Mistress flanger, the BOSS CE-1 chorus, the Dunlop crybaby wah, among others. Lifeson and his guitar technician Scott Appleton have discussed in interviews Lifeson's use of Fractal Audio's Axe-FX, Apple Inc.'s MainStage, and Native Instruments' Guitar Rig.

The term referred to an engineer alternately pressing and releasing his finger against the flange (rim) of the supply reel on one of two synchronized tape machines as the same audio signal was combined and transferred to a third machine, slightly slowing the machine then allowing it to come back up to speed and in sync with the other, applying a "swooshing" comb filtering effect to the combined audio signal. Alternatively, the engineer could press the flange of one supply reel then the other to achieve a fuller effect. An additional explanation for the pedigree of flanging has it named after Fred Flange, a pseudonym given to Matt Monro by Peter Sellers, who used a Monro recording to open his 1959 Sinatra parody album Songs for Swingin' Sellers. The album was produced by Martin, and presumably the connection with flanging comes from Monro's mimicking (double-tracking) Sinatra.

It is connected to the controller with a 13-pin cable and has six foot pedals for sound switching and bank switching. The synthesizer features 24 polyphonic voices and has a library of 200 PCM sounds, which can be expanded with an optional expansion board to 400 sounds. The sounds can be tweaked with controls for attack, decay, release, cutoff, resonance and vibrato. Reverb, delay, chorus, or flanging can be added.

Hofwijck, home to Christiaan Huygens from 1688 On his third visit to England, in 1689, Huygens met Isaac Newton on 12 June. They spoke about Iceland spar, and subsequently corresponded about resisted motion. Huygens observed the acoustical phenomenon now known as flanging in 1693. He died in The Hague on 8 July 1695, and was buried in an unmarked grave in the Grote Kerk there, as was his father before him.

Verlaine is an advocate of guitar techniques and recording processes including close miking, delay, reverb, slap echo, phasing/flanging, tremolo, etc. Television's first commercially released recording, "Little Johnny Jewel", saw Verlaine, in defiance of common practice, plugging his guitar straight into the recording desk with no amplification. Verlaine rarely uses heavy distortion. Vibrato is a large part of Verlaine's style and he makes extensive use of the Jazzmaster's unique vibrato arm.

A Moogerfooger with low-pass filter functionality The Moogerfooger, introduced under Big Briar, is an analog effects pedal that essentially allowed users to apply the modules that constituted the original Moog design to arbitrary sound inputs. Some of the effects included ring modulation, low- pass filtration, ladder filtration, and flanging. The Moogerfooger was successful, and saw a variety of models produced. It was discontinued in 2018, after 20 years of production.

The radio mix is noticeably different from the regular single version in that it omits the flanging effects from the drum fill after the second chorus and the closing "time flies" vocals. Whereas the regular single credits the remix to Dave Bascombe, the radio version simply credits Chris Hughes as producer. This version of the single does not include "When in Love with a Blind Man" and has blue-coloured injection moulded labels.

In press conferences, Hillman explained that he was beginning to improve upon his guitar playing, and since he wrote "Old John Robertson" with the instrument, he wanted to carry it over to the recording, even though Crosby had not played bass since the early days of the group. The album version of the song makes broad use of the audio effects known as phasing and flanging, particularly during the orchestral middle section and third verse.

Hoh's drum part is prominent with the heavy use of flanging (a sound processing effect) on the track. Super Session reached number eleven in the album chart and became one of Columbia's best-selling albums of the late 1960s. It was also the best-selling album of both Bloomfield's and Kooper's careers and Stills' first gold record. Although Hoh had already played drums on several well-known songs, he was relatively unknown to audiences.

The Maschen disc brooch lay with its face side down on the woman's chest. The brooch has a diameter of and is made of different colored vitreous enamel in cloisonné technique on a copper plate. The copper base of the brooch is can shaped, and the enamel plate was fixed in the copper base on a bed of loam by flanging the protruding edges of the bases wall. The needle apparatus was not preserved.

The song commences with a quiet introduction, containing a guitar playing notes from chords. Rick Parfitt and Francis Rossi used chorus, fuzz and flanging effects on their guitars. This lasts for approximately 26 seconds, and fades out towards the end. After this, the guitar picks up once more with a D-minor riff, and 40 seconds into the piece, the familiar D-major riff of the song begins, accompanied by drums from the 56 second mark.

"Juxtapozed with U" is 3 minutes 8 seconds long and is in the key of A major. The track begins with a drum fill, featuring flanging, before a harp, strings, acoustic guitar and bass join at 2 seconds. An electric guitar joins at 13 seconds playing a melody line. The song breaks down at 25 seconds for the first verse with just bass, drums, acoustic guitar and occasional synthesizer accompanying Gruff Rhys's vocals which are fed through a vocoder.

Other founders included Ed Snow and John Rado. The company is known as a pioneer in certain technologies including the BBD (bucket-brigade device) and CCD (charge-coupled device). This included creation of such integrated circuits as the SAD512, SAD1024, SAD4096, R5101 and R5601. These were popularly used by companies such as MXR, Boss Corporation, Electro- Harmonix, A/DA and others in various electric guitar effects such as analog delay, chorus and flanging devices through the 1970s and 1980s.

Flanging is an audio effect produced by mixing two identical signals together, one signal delayed by a small and gradually changing period, usually smaller than 20 milliseconds. This produces a swept comb filter effect: peaks and notches are produced in the resulting frequency spectrum, related to each other in a linear harmonic series. Varying the time delay causes these to sweep up and down the frequency spectrum. A flanger is an effects unit that creates this effect.

As an audio effect, a listener hears a "drainpipe" or "swoosh" or "jet plane" sweeping effect as shifting sum-and-difference harmonics are created analogous to use of a variable notch filter. The term "flanging" comes from one of the early methods of producing the effect. The finished music track is recorded simultaneously to two matching tape machines, then replayed with both decks in sync. The playback-head output from the two recorders is mixed to a third recorder.

The track also has a flanging effect produced by the MXR Flanger, while other instruments used include an ARP/Solina String Ensemble, Fender Rhodes, Hohner Clavinet, and piano.Giorgio Moroder Gear Guide, Dolphin Music Although a disco piece, "Chase", along with "I Feel Love", is more specifically considered the pioneering introduction of the hi- NRG genre, which came to prominence in the early 1980s. The music was arranged by Harold Faltermeyer under the leadership of Giorgio Moroder.

The work may include placing the pipeline end manifold (PLEM) and connecting it to the submarine pipelines, installing anchor chains and checking and adjusting chain angles, installing the submarine hoses between the PLEM and the buoy, installing a ships mooring system and operating subsea valves. The work is likely to involve the use of winches and cranes, rigging, including use of tirfors, chain hoists, strops and spreaders, flanging, using wrenches, hammers and gaskets, oxy-arc burning and welding.

It provided real-time postprocessing effects (such as reverb, flanging, or chorus). This capability let users select a pre-defined listening environment from a control-panel application (concert hall, theater, headphones, etc.) It also provided hardware-acceleration for EAX, Creative's environmental audio technology. The Effect algorithms were created by a development system that integrated into Microsoft Developer Studio. The effects were written in a language similar to C, and compiled into native FX8010 object code by its compiler, fxasm.

Illustration by Margaret Flockton from The Forest Flora of New South Wales. Mature specimens of white beech reach tall, though exceptional individuals can reach tall,Floyd, Alexander G., Australian Rainforests in New South Wales Volume 2 - 1990 page 179 and live for centuries. The base of the largest trees exceeds two and a half metres in diameter, and the trunk is cylindrical with a flanged but not buttressed base. The flanging can extend up the bole.

Further development of the classic effect is attributed to Ken Townsend, an engineer at EMI's Abbey Road Studio, who devised the process in the spring of 1966. Tired of laboriously re-recording dual vocal tracks, John Lennon asked Townsend if there was some way for the Beatles to get the sound of double-tracked vocals without doing the work. Townsend devised artificial double tracking or ADT. According to historian Mark Lewisohn, it was Lennon who first called the technique "flanging".

Late in 1878, in collaboration with hatter Dwight Wheeler, House invented and patented a machine for blocking felt hats in 28 seconds. The patents were issued on February 25, 1879 and in the same year the House and Wheeler Hat Flanging Co., a joint stock company, was formed in Bridgeport. A practical machine was built and installed at the Marrinet Hat Co. at Salisbury, Connecticut. The employees, adverse to any innovations that might reduce their value to the company, went on strike.

The band was among the first to employ and popularize fuzz and flanging guitar effects, concept albums, and twelve-string guitars in rock music. Their instrumental virtuosity, innovation, and unique sound influenced many musicians and bands, earning the group the moniker "The Band that Launched a Thousand Bands". Their recording of "Walk, Don't Run" was inducted into the Grammy Hall of Fame for its lasting impact, and in 2008 the group was inducted into the Rock and Roll Hall of Fame.

The bridge leads into the third and last chorus, which follows the arrangement of the second chorus although this time the drums feature flanging. The track ends with an instrumental outro similar to the intro. The outro begins at 2 minutes 16 seconds and features a second lead guitar with a wah-wah effect playing licks alongside the main lead guitar and saxophone. After the guitar melody has played twice the main lead guitar stops playing and the track begins to fade out.

AudioMulch is modular audio software for making music and processing sound. The software can synthesize sound and process live and pre-recorded sound in real-time. AudioMulch has a patcher-style graphical user interface, in which modules called contraptions can be connected together to route audio and process sounds. Included are modules used in electronic dance music such as a bassline-style synthesizer and a drum machine, effects like ring modulation, flanging, reverb and delays, and other modules such as a delay-line granulator and stereo spatializer.

A 1945 Federal Telephone & Radio Type 803, a clone of the 302 using Automatic Electric components for military applications Other manufacturers produced sets of similar appearance. Among these were the Stromberg-Carlson Model 1243 telephone, distinguished by beveled corners and flanging on the handset, and the Federal Telephone & Radio (FTR) 803 (pictured). After phase-out in the US, the model 302's exterior design was retained by European Bell branch companies for such models as the 1954 Bell Standard, widely used in the Netherlands and Belgium.

Truscott, Lucian K. "Inside the Hotel California." New Times, June 1977. He is also credited with pioneering other "psychedelic" sound effects, such as "flanging," a sound which is sometimes confused with Automatic double tracking (ADT). He worked with musicians such as John Lennon, Ringo Starr, George Harrison, Mick Jagger, Ron Wood, Bill Wyman, Jimi Hendrix, B.B. King, Bobby Goldsboro, The Animals, Stevie Wonder, Carole King, Frank Zappa, Sly and the Family Stone, Velvet Underground, CSNY, Rod Stewart, Ravi Shankar, Keith Moon, Barbra Streisand, and Neil Diamond.

Each piece is examined in great detail, and the book is illustrated with hundreds of full color photographs, charts, drawings and illustrations. How the equipment was implemented during the group's sessions is also covered. The effects used on the Beatles' records are addressed in great detail, with full explanations of concepts such as ADT and flanging. The Production section of the book looks at the group's recording processes chronologically, starting with their "artist test" in 1962 and progressing through to their final session in 1970.

Although this was another feature often described as being in common with the 0-8-0s, they were actually longer than the L boiler. The L boiler was unique to the Class 32, although they were made on the same flanging plates as Hughes' Dreadnought class. This unique boiler would eventually lead to the class' early withdrawal, when the boilers were due for replacement at twenty years old. Superheating was an innovation at this time and not yet firmly established, mostly owing to difficulties in providing adequate cylinder lubrication.

"Pioneers" opens with a series of delayed guitar harmonics, while "Price of Gas" is driven by a marching-like sound created by Moakes walking in the studio with planks of wood strapped to his feet. "So Here We Are" is the only track on the album to not include vocal overdubbing. The song contains layered audio tracks of guitar and is followed by "Luno", which begins with 32 bars of bass guitar and drums. "Plans" has a slower tempo and uses a synthesizer and effects such as flanging during the chorus.

June 15, 2011 Moog Music announced the release of the Cluster Flux which was a signal processor that produced flanging and chorusing effects. It had a six- waveform modulation section, a knob that added either positive or negative feedback, a jack for inserting effects into the Feedback Loop, a Tap Tempo switch, a 5 Pin DIN input for MIDI Control and dual outputs for either Mono or Stereo. The Second output had a dip switch configurable for either Stereo out (two types), Delay only out, or dual Mono out.

Their second album, $100 Fine, included original input from the band and British-influenced cover material. Although the album did not chart nationally, it did chart at number 10 on the Twin Cities chart. Their writer/producer, Warren Kendrick, had developed a method to precisely control the flanging effect (which would eventually become a staple of psychedelic recordings) and he applied it to a cover version of a Procol Harum song, "Kaleidoscope." A highlight for the band that year was their brief appearance in the movie, Medium Cool.

"Pictures of Matchstick Men" is one of a number of songs from the late 1960s which feature the flanging audio effect. The band's next single release, "Black Veils of Melancholy", was similar but flopped, which caused a change of musical direction. Rossi (living in a prefab in Camberwell at the time) later said of the song: The "matchstick men" of the song refers to the paintings of Salford artist L. S. Lowry. The song was reprised, in 2014, for the band's thirty-first studio album Aquostic (Stripped Bare).

Commonly, flanging is referred to as having a "jet-plane-like" characteristic. In order for the comb filter effect to be audible, the spectral content of the program material must be full enough within the frequency range of this moving comb filter to reveal the filter's effect. It is more apparent when it is applied to material with a rich harmonic content, and is most obvious when applied to a white noise or similar noise signal. If the frequency response of this effect is plotted on a graph, the trace resembles a comb, and so is called a comb filter.

The album opens with a ten minute three part composition "The Ritual" reminiscent of the 10cc songs "Une Nuit a Paris" and "Feel the Benefit". The vocal effects on "The Ritual" were created by the first AMS delay line, a repeat echo unit that revolutionised "Double Track" Vocals in the 1970s and the chorusing/flanging was achieved by modulating the effect of the repeated vocal ever so slightly so that it moves around the stereo. The ballad "Make the Pieces Fit" was originally written for 10cc album Look Hear? and was also featured on Stewart's previous album, "Girls".

The band's following single "Itchycoo Park", released on 11 August 1967, was the first of the band's two charting singles in the United States, reaching No. 16 in January 1968. The single was a bigger hit in Britain, peaking at No. 3. "Itchycoo Park" was the first British single to use flanging, the technique of playing two identical master tapes simultaneously but altering the speed of one of them very slightly by touching the "flange" of one tape reel, which yielded a distinctive comb-filtering effect. The effect had been applied by Olympic Studios engineer George Chkiantz.

It was discovered early on that new special effects were possible, such as phasing and flanging, delays and echo by re-directing the signal through one or more additional tape machines, while recording the composite result to another. These innovations appeared on pop recordings shortly after multi-tracking recorders were introduced, although, Les Paul had been using tape echo and speed-manipulation effects on his single-track recordings from the 1940s and '50s. A typical home reel-to-reel tape recorder, this one made by Sonora. It could play stereo quarter-track tapes, but record only in one quarter-track mono.

Flanging (speeding up or slowing down) of sensory input is also a characteristic effect of recreational use. Also, a marked difference is seen between dextromethorphan hydrobromide, contained in most cough suppressant preparations, and dextromethorphan polistirex, contained in the brand name preparation Delsym. Polistirex is a polymer that is bonded to the dextromethorphan that requires more time for the stomach to digest it, as it requires that an ion exchange reaction take place prior to its dissolution into the blood. Because of this, dextromethorphan polistirex takes considerably longer to absorb, resulting in more gradual and longer lasting effects reminiscent of time-release pills.

According to music journalist David Stubbs, Electric Ladyland is "undoubtedly a rock album, albeit rock on the point of evolving into something else." Uncut magazine's John Robinson said that its music reconciles the psychedelic pop of Hendrix's earlier recordings with the aggressive funk he would explore on his 1970 album Band of Gypsys. During its recording, Kramer experimented with innovative studio techniques such as backmasking, chorus effect, echo, and flanging, which AllMusic's Cub Koda said recontextualized Hendrix's psychedelic and funk sounds on the album. Electric Ladyland is a cross-section of Hendrix's wide range of musical talent.

Fisher is best remembered for her 1959 song "The Big Hurt", written by her manager Wayne Shanklin. The song went to #3 on the Billboard Hot 100 chart in the US. The track also peaked at #30 in the UK Singles Chart. "The Big Hurt" is notable because it featured a flanging effect when mixing engineer Larry Levine—who went on to help Phil Spector create his wall of sound—inadvertently mixed the mono and stereo versions of the song together but out of sync; a happy accident. It is claimed to be the first record to have such phasing.

Also referred to as "hole flanging", hollow cavities within extruded material cannot be produced using a simple flat extrusion die, because there would be no way to support the centre barrier of the die. Instead, the die assumes the shape of a block with depth, beginning first with a shape profile that supports the center section. The die shape then internally changes along its length into the final shape, with the suspended center pieces supported from the back of the die. The material flows around the supports and fuses together to create the desired closed shape.

"Itchycoo Park" is a song written by Steve Marriott and Ronnie Lane, first recorded by their group, the Small Faces. Largely written by Lane, it was one of the first music recordings to feature flanging, an effect at that time made possible by electro-mechanical processes. The location and etymology of the titular park has long been debated; many claiming it to be Little Ilford Park in Manor Park, East London or Wanstead Flats in Wanstead, East London. The single was not featured on any of their UK albums, but was however featured on the North American release There Are But Four Small Faces.

As with several of Harrison's compositions from this period, "Blue Jay Way" incorporates aspects of Indian classical music, although the Beatles used only Western instrumentation on the track, including a drone-like Hammond organ part played by Harrison. Created during the group's psychedelic period, the track makes extensive use of studio techniques such as flanging, Leslie rotary effect, and reversed tape sounds. The song appeared in the Beatles' 1967 television film Magical Mystery Tour, in a sequence that visually re-creates the sense of haziness and dislocation evident on the recording. While some reviewers have dismissed the song as monotonous, several others have admired its yearning quality and dark musical mood.

During reduction mixing of this performance, flanging effect was added to Harrison's guitar part and to the piano over the song's coda. On 26 April, McCartney overdubbed his bass guitar part and the four band members, together with Evans and Neil Aspinall, added percussion such as maracas, tambourine, cowbell and extra drums; Lennon, McCartney and Harrison then taped heavily echoed, vocalised shouts. The following night, McCartney added his lead vocal while Lennon and Harrison sang backing vocals, including the "Roll up / Roll up for the mystery tour" lines. The backing vocals were recorded at a far slower speed so that the voices sounded higher when the tape speed was corrected.

The final panel fabrication process, after achieving the correct surface contour, is some kind of edge treatment, such as flanging (sheet metal) or wire edging. This finishes and strengthens the edge. Typically, there is too much or too little metal in the flange, which pulls the panel out of shape after the flange is turned—so it must be stretched or shrunk to correct the surface shape. This is most easily done using Eckold shrinking and stretching, but can be done using heat shrinking or cold shrinking, by tucking and beating the tucked metal into itself, or by using a cold shrinking hammer and dolly.

The Notorious Byrd Brothers is the fifth album by the American rock band the Byrds, and was released in January 1968, on Columbia Records. The album represents the pinnacle of the Byrds' late-60's musical experimentation, with the band blending together elements of psychedelia, folk rock, country, electronic music, baroque pop, and jazz. With producer Gary Usher, they made extensive use of a number of studio effects and production techniques, including phasing, flanging, and spatial panning. The Byrds also introduced the sound of the pedal steel guitar and the Moog modular synthesizer into their music, making it one of the first LP releases on which the Moog appears.

In the song, Hillman recalls the children of the town and their cruel laughter at this colorful figure, as well as the combination of awe and fear that he elicited in the townsfolk. During the recording of the song, Crosby switched instruments with Hillman to play bass instead of his usual rhythm guitar. The track also makes liberal use of the studio effects known as phasing and flanging, particularly during the song's orchestral middle section and subsequent verse. The version of "Old John Robertson" found on the B-side of the "Lady Friend" single is a substantially different mix from the version that appears on The Notorious Byrd Brothers album.

A kick drum is usually placed on every downbeat and a regular open hi-hat is often placed on the upbeat. Extra percussive elements are usually added, and major transitions, builds or climaxes are often foreshadowed by lengthy "snare rolls"—a quick succession of snare drum hits that build in velocity, frequency, and volume towards the end of a measure or phrase. A Simple arpeggiated (Roland JP-8000) Supersaw waveform pattern with chorus and flanging (some professionals used Lexicon Hall programs without pre-delay). A trancegate pattern at 141 bpm as it is heard on a software trancegate using a Roland JP-8000 with the supersaw waveform and minor EQ edits.

The engineer slows down one recorder by lightly pressing a finger on the flange (rim) of one of the playout reels. The "drainpipe" or subtle "swoosh" 'flange flango' effect "sweeps" in one direction, and the playback of that recorder remains slightly behind the other when the finger is removed. By pressing a finger on the flange of the other deck, the effect sweeps back in the other direction as the decks progress towards being in sync. The Beatles' producer George Martin has disputed this "reel flange" source, instead attributing the term to John Lennon (see Martin's account below.) Older recording hardware could suffer flanging as a side effect when recording long tracks.

Unlike standard audio cassette machines that recorded a pair of stereo channels per side, the cassette-based Portastudios recorded four channels in one direction. If you played back a standard two-sided stereo cassette, the second two channels would play in reverse. One interesting (but unpublished) feature was that you could record a track in reverse by flipping the cassette, then flip it back and record additional material. Thanks to the speed control, it was also possible to create a classic flanging effect by recording one track, then recording a second copy of the same track while varying the pitch control, creating a sweeping sound at points where the two tracks converged.

Long running British music magazine NME cites readers poll voting "Itchycoo Park" number 62 out of the top 100 singles of all time. "Itchycoo Park" climbed the charts again when it was re-released on 13 December 1975. The song was one of the first pop singles to use flanging, an effect that can be heard on the drums in the bridge section after each chorus. Most sources credit the use of the effect to Olympic Studios engineer George Chkiantz who showed it to the Small Faces regular engineer Glyn Johns; he in turn demonstrated it to the group, who were always on the lookout for innovative production sounds, and they readily agreed to its use on the single.

Power press with a fixed barrier guard Stamping (also known as pressing) is the process of placing flat sheet metal in either blank or coil form into a stamping press where a tool and die surface forms the metal into a net shape. Stamping includes a variety of sheet-metal forming manufacturing processes, such as punching using a machine press or stamping press, blanking, embossing, bending, flanging, and coining. This could be a single stage operation where every stroke of the press produces the desired form on the sheet metal part, or could occur through a series of stages. The process is usually carried out on sheet metal, but can also be used on other materials, such as polystyrene.

De Whalley and the engineer, Bill, were aiming to emulate the musical style of the Ruts, a popular band at the time who had released "very rhythmically coherent post-punk records with a very tightly controlled driving guitar sound". In an attempt to copy their song, "Babylon's Burning", de Whalley and the staff applied extensive flanging to the Edge's guitar tracks. Upon completion, de Whalley felt that the demos he had recorded with U2 were subpar. Sitting with Bono and the master tapes in the airport the following day, he felt that the flanger effect had not helped and that he had failed not only the band but also himself in his audition as a producer.

Les Paul was an early innovator of overdubbing, and began to experiment with it around 1930. He originally created multi-track recordings by using a modified disk lathe to record several generations of sound on a single disk, before later using tape technology, having been given one of the first Ampex 300 series tape recorders as a gift from Bing Crosby. His 1950 #1 hit, How High The Moon, performed with his then-wife Mary Ford, featured a then-significant amount of overdubbing, along with other studio techniques such as flanging, delay, phasing and varispeed. Les Paul's advancements in recording were seen in the adoption of his techniques by artists like Buddy Holly.

The Ventures In Space, because of its ethereal space-like effects, was deemed an influence on the later 1960s San Francisco psychedelic generation, as well as being cited as a favorite by Keith Moon of the Who. The band's cover of the Tornados' "Telstar" (released in January 1963) featured one of the first instances of flanging on a pop record. The song "Silver Bells" on The Ventures' Christmas Album, released in November 1965, has one of the first recorded uses of a talk box as a musical effect, voiced by Red Rhodes. Rhodes was responsible for devising many of the effects seen on Ventures records, and was the inventor of the fuzzbox.

They were flown to Los Angeles to produce their first album at ID Sound studio. Rundgren had no prior production experience and remembered that the producer, Bill Traut, "just whipped through the mixes in a day or two ... So I got it into my head, 'Well, he's gone now, so why don't we just mix it again, more like the way we want it?' Our engineer didn't mind if we went and just started diddling around on the board ... It was pretty much trial and error." He took an experimental approach to the recordings, employing techniques such as varispeed and flanging, and despite having no formal training, scored music charts for string and horn arrangements.

In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point, without the use of dialogue or music. The term often refers to a process, applied to a recording, without necessarily referring to the recording itself. In professional motion picture and television production, the segregations between recordings of dialogue, music, and sound effects can be quite distinct, and it is important to understand that in such contexts, dialogue, and music recordings are never referred to as sound effects, though the processes applied to them, such as reverberation or flanging, often are. Necessary incidental units of sound, footsteps, keys, a polishing sound, are created in the foley studio.

It represents a transitional stage in that it combined, in its original version, live instrumental performance and tape accompaniment. A technical difference between the tape and live mediums is that in the former, phasing was accomplished by slowing down one tape loop against the other, using the technique of flanging, whereas in the instrumental compositions it proved easier for one player to speed up against the other's fixed tempo. From the listener's point of view, however, the difference in effect is indistinguishable . Reed Phase begins a sequence, followed directly by Piano Phase and Violin Phase (both 1967), in which the composer explores phasing technique for a single performer with tape and, in the case of Piano Phase, just two players.

Several tracks, including "Us and Them" and "Time", demonstrated Richard Wright's and David Gilmour's ability to harmonise their voices. In the 2003 Classic Albums documentary The Making of The Dark Side of the Moon, Waters attributed this to the fact that their voices sounded extremely similar. To take advantage of this, Parsons utilised studio techniques such as the double tracking of vocals and guitars, which allowed Gilmour to harmonise with himself. The engineer also made prominent use of flanging and phase shifting effects on vocals and instruments, odd trickery with reverb, and the panning of sounds between channels (most notable in the quadraphonic mix of "On the Run", when the sound of the Hammond B3 organ played through a Leslie speaker rapidly swirls around the listener).

Phasing is a popular effect for electric guitar. The term was often used to refer to the original tape flanging effect heard on many psychedelic records of the late 1960s, notably "Itchycoo Park" (1967) by the Small Faces. In 1968, Shin-ei's Uni-Vibe effects pedal, designed by audio engineer Fumio Mieda, incorporated phase shift and chorus effects, soon becoming favorite effects of guitarists such as Jimi Hendrix and Robin Trower. By the early 1970s, phasing was available as a portable guitar effect, the first being the Maestro Phase Shifter PS-1 designed by Tom Oberheim. Unlike other phase shifters to follow, the Maestro PS-1 had three buttons to control the rate of speed: slow, medium, and fast speed.

Jones studied Electronic Engineering at the University of Liverpool, and has used his electronics skills to potent effect over the years. In the late 1970s, he designed and built various analog signal processors for use with the bass, perhaps the most unusual of which was an amplitude- and frequency-sensitive flanger that would vary the character of its flanging effect based on what notes were being played into it, and how loudly they were being played. His other designs included an envelope- controlled Voltage Controlled Filter (VCF), which can be heard on the track "Noddy Goes to Sweden" on Brand X's 1980 album Do They Hurt?, as well as an analog drum machine, which featured preset rhythms in various odd time signatures such as 15/16.

"Blue Jay Way" features extensive use of three studio techniques employed by the Beatles over 1966–67: flanging, an audio delay effect; sound-signal rotation via a Leslie speaker; and (in the stereo mix only) reversed tapes. In the case of the latter technique, a recording of the completed track was played backwards and faded in at key points during the performance, creating an effect whereby the backing vocals appear to answer each line of Harrison's lead vocal in the verses. Due to the limits of multitracking, the process of feeding in reversed sounds was carried out live during the final mixing session. A tape loop of decelerated guitar sounds was used on "The Fool on the Hill" to create a swooshing bird-like effect towards the end of that song.

"Blue Jay Way" features extensive use of three studio techniques employed by the Beatles over 1966–67: flanging, an audio delay effect; sound-signal rotation via a Leslie speaker; and (in the stereo mix only) reversed tapes. Beatles historian Mark Lewisohn compares "Blue Jay Way" with two Lennon tracks from this period, "Strawberry Fields Forever" and "I Am the Walrus", in that the recording "seized upon all the studio trickery and technical advancements of 1966 and 1967 and captured them in one song". Together with the pedal drone supplied by the keyboard parts, the various sound treatments reinforce the sense of dislocation evident in the song. In the case of the reversed-tape technique, a recording of the completed track was played backwards and faded in at key points during the performance.

"Northern Lites" is 3 minute and 31 seconds long and is in the key of E minor. The song begins with an intro with steel drums, featuring a flanging effect, before a brass section enters after 6 seconds playing a melody line accompanied by a güiro, sparse drums and an acoustic guitar playing the chords Em7 and A. The melody line plays twice after which Gruff Rhys begins singing the first verse alongside the güiro, guitar and steel drums which no longer have a flange effect. Towards the end of the verse a distorted guitar melody line plays alongside Rhys's vocal and harmony backing vocals enter. The song's first chorus begins at 48 seconds with Rhys singing "There's a distant light, a forest fire burning everything in sight".

The Crystal Method performing at Lollapalooza, 2012 Big beat features heavy and distorted drum beats at tempos between 100 and 140 beats per minute, Roland TB-303 synthesizer lines resembling those of acid house, and heavy loops from 1960s and 1970s funk, soul, jazz, and rock songs. They are often punctuated with punk-style vocals or rappers and driven by intense, distorted synthesizer basslines with conventional pop, house and techno song structures. Big beat tracks have a sound that includes crescendos, builds, drops, extended drum rolls, and sounds such as spoken word samples, dialogues from film and TV, additional instruments such as Middle Eastern strings or sitars, explosions, air horns, sirens (usually police sirens) and gunshots. As with several other dance genres at the time, the use of effects such as filters, phasing, and flanging was common in the genre.

Revelation of the Daleks was released in 1999 on VHS together with Planet of the Daleks in a special Dalek tin set, and again in 2001 as part another box set, the WHSmith exclusive, The Davros Box Set. The stories were released on VHS individually in North America, and later released on Region 2 DVD on 11 July 2005. All home releases were digitally edited to remove the Jimi Hendrix Experience track Fire as played by the DJ, which was intact in original TV transmissions but cut from VHS and DVD releases due to copyright issues. For the VHS edition the soundtrack was edited to remove the Hendrix material leaving only the dialogue over which a piece of library guitar music was mixed loudly; for the DVD edition the original soundtrack was remixed to include another piece of library music with a flanging effect more sympathetic with that on the broadcast version.

In 1962, Smith had a release on Era Records of "By the Time You Read This Letter" b/w "That's What I'd Do", which were recorded in the Gold Star Studios of Hollywood, the inventors of flanging and phasing. Two originals were self-produced at the Oro Records studio in Modesto, California: "The Meaning of Love" b/w "Pretty Little Baby" with vocal backing by The Terrys, a four girl group from Stockton, California. Smith had independent releases on the label Orchid of Memphis, owned by Prewitt Rose: "Pictures" b/w "Lightin' Up Behind The Barn", recording as Smith and Morales, session at Gardnerville, NV; "Love Of An Everyday Man" b/w "Country Rock and Roll" as Carson Smith, co-written with Prewitt Rose, session in Lexington, Kentucky. On his own label Smith recorded "Arkansas River" b/w "Son of the Other Gun" with Terry Mort, drums, and Bob Bales, bass, session Tulsa, Oklahoma.

The manipulation of the speed of the second machine during playback introduces a delay between the original vocal and the second recording of it, giving the effect of double tracking without having to sing the part twice. The effect had been created "accidentally" earlier, when recording "Yesterday": loudspeakers were used to cue the string quartet and some of McCartney's voice was recorded onto the string track, which can be heard on the final recording. It has been claimed that George Martin's pseudoscientific explanation of ADT ("We take the original image and we split it through a double-bifurcated sploshing flange") given to Lennon originated the phrase flanging in recording, as Lennon would refer to ADT as "Ken's flanger", although other sourcesAbout The Beatles - Songs - Lucy In The Sky With Diamonds claim the term originated from pressing a finger on the tape recorder's tape supply reel (the flange) to make small adjustments to the phase of the copy relative to the original. ADT greatly influenced recording—virtually all the tracks on Revolver and Sgt.

The group were in the school of baroque-flavoured, melodic pop- rock music typified by the Beach Boys of Pet Sounds and God Only Knows, the Zombies of Odessey and Oracle and Time of the Season, the Procol Harum of A Whiter Shade of Pale, the Moody Blues of Days of Future Passed and Nights in White Satin and the Kinks of Waterloo Sunset and the Love of Forever Changes. The majority of the tracks on Nirvana's albums fell into that broad genre of contemporary popular music, not easily categorized but perhaps best described as the baroque or chamber strand of progressive rock, soft rock or orchestral pop and chamber pop. The Nirvana song "Rainbow Chaser" is thought to be the first-ever British recording to feature the audio effect known as phasing or flanging throughout an entire track, as distinct from occasionally within a song such as the Small Faces in "Itchycoo Park". Phasing was, by 1967, heavily identified with the musical style known as psychedelia, and as "Rainbow Chaser" was the only Nirvana single to achieve commercial success, peaking at number 34 in UK Singles Chart during May 1968, they were invariably tagged as a "psychedelic" band.

This inspired Sayers and Meldrum to create an entirely new arrangement and during additional sessions they create an extended 'outro' for the song by editing various sections of the studio 'jam' together and combining them with additional voices, instruments and sound effects. The final product was a swirling psychedelic collage of music and sound effects which included deliberate edits and instrument 'dropouts' of the backing track (anticipating the Jamaican dub experiments of the 1970s) and an ominous spoken-word "buyer beware" message (suggestive of the LSD 'trip' experience) which was, in fact, Meldrum's heavily filtered voice reading aloud from the product disclaimer on an Ampex recording tape box. The final edit was further processed by applying the then-novel studio effect known as flanging, in which two identical copies of the recording were played together but slightly out-of-phase with each other, producing a rich 'swooshing' sound effect around the music. The children's choir singing toward the end was sourced from an archive recording of a WWII Hitler Youth choir singing "Die Jugend Marschiert" (Youth on the March) and the song concludes dramatically with the children's choir shouting "Sieg Heil!" immediately followed by the cataclysmic sound of an atomic bomb explosion.