Ok, i am having trouble understanding how a delay system works...can anyone explain it to me?
thanks
-Travis-
thanks
-Travis-
-
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technology question...
- Thread starter TravisWMLN
- Start date
> Ok, i am having trouble understanding how a delay system
> works...can anyone explain it to me?
Well, back in the old days, they used to use two reel-to-reel tape decks across the room (or on opposite ends of a large equipment rack), and string the tape between the two. The tape would reach the second (playback) deck a number of seconds after it went through the first (record) deck, creating a delay.
As for how modern digital delays work, I couldn't tell you...
> works...can anyone explain it to me?
Well, back in the old days, they used to use two reel-to-reel tape decks across the room (or on opposite ends of a large equipment rack), and string the tape between the two. The tape would reach the second (playback) deck a number of seconds after it went through the first (record) deck, creating a delay.
As for how modern digital delays work, I couldn't tell you...
N
Neggy
Guest
> > Ok, i am having trouble understanding how a delay system
> > works...can anyone explain it to me?
>
> Well, back in the old days, they used to use two
> reel-to-reel tape decks across the room (or on opposite ends
> of a large equipment rack), and string the tape between the
> two. The tape would reach the second (playback) deck a
> number of seconds after it went through the first (record)
> deck, creating a delay.
>
> As for how modern digital delays work, I couldn't tell
> you...
>
Modern delays work much like buffering in your media player... it loads up a set amount of data and plays it back X many seconds later. Just gotta be there on the switch to grab the output if something goes wrong. If you had a WMP encoder you could try this at home!
The old days of reel to reel was done by having the distance between the record head on the left reel 7 seconds tape distance at whatever the speed was 3 something or 7 something inches per second ( that was the choice in recording speeds)that many seconds play time away from the play head on the right reel.
The reel of tape was loaded on the left reel (supply) of the record deck across the record head over a distance to pass over the playback head of the right machine and then onto the right (playback) machines take up reel. If someone said one of the Pacifica Decision words you had to hit the button to take it out of the air chain.
At WJUL we had the talk shows done on the master control room board and had the output of the play deck up in the air studio where someone was listening to the record side and ready to pull the plug on the playback side.
Back in the old days of talk radio when someone got dumped, the host would come back on live for a second no delay and then they'd play a 7 second station ID or something which gave them time to get new clean sound on the tape.
THe only limit to how long your show was was the size of the reel of tape and how fast you could re thread the machines with fresh reels during a commercial or PSA break.
> > works...can anyone explain it to me?
>
> Well, back in the old days, they used to use two
> reel-to-reel tape decks across the room (or on opposite ends
> of a large equipment rack), and string the tape between the
> two. The tape would reach the second (playback) deck a
> number of seconds after it went through the first (record)
> deck, creating a delay.
>
> As for how modern digital delays work, I couldn't tell
> you...
>
Modern delays work much like buffering in your media player... it loads up a set amount of data and plays it back X many seconds later. Just gotta be there on the switch to grab the output if something goes wrong. If you had a WMP encoder you could try this at home!
The old days of reel to reel was done by having the distance between the record head on the left reel 7 seconds tape distance at whatever the speed was 3 something or 7 something inches per second ( that was the choice in recording speeds)that many seconds play time away from the play head on the right reel.
The reel of tape was loaded on the left reel (supply) of the record deck across the record head over a distance to pass over the playback head of the right machine and then onto the right (playback) machines take up reel. If someone said one of the Pacifica Decision words you had to hit the button to take it out of the air chain.
At WJUL we had the talk shows done on the master control room board and had the output of the play deck up in the air studio where someone was listening to the record side and ready to pull the plug on the playback side.
Back in the old days of talk radio when someone got dumped, the host would come back on live for a second no delay and then they'd play a 7 second station ID or something which gave them time to get new clean sound on the tape.
THe only limit to how long your show was was the size of the reel of tape and how fast you could re thread the machines with fresh reels during a commercial or PSA break.
Many professional decks also ran at 15 ips for even better fidelity.
> Tape speeds were 3.75 and 7.5 inches/second...
>
>
>
> Dave Gardiner
>
>
> WVCH 740
>
> Chester/Philadelphia
>
> Tape speeds were 3.75 and 7.5 inches/second...
>
>
>
> Dave Gardiner
>
>
> WVCH 740
>
> Chester/Philadelphia
>
technology question answered...
> > As for how modern digital delays work, I couldn't tell
> > you...
> Modern delays work much like buffering in your media
> player... it loads up a set amount of data and plays it back
> X many seconds later.
When the digital delay senses silence (or a long pause) it starts to build up the cache (short-term memory) again - until it reaches the full 8 seconds (or whatever setting it is on).
After a call has been dumped, the best thing to do is for the talent to pause for approx. 8 seconds , so that the cache rebuilds to full capacity. A listener would not notice the pause on the air, because they are listening to the program post-delay.
> > As for how modern digital delays work, I couldn't tell
> > you...
> Modern delays work much like buffering in your media
> player... it loads up a set amount of data and plays it back
> X many seconds later.
When the digital delay senses silence (or a long pause) it starts to build up the cache (short-term memory) again - until it reaches the full 8 seconds (or whatever setting it is on).
After a call has been dumped, the best thing to do is for the talent to pause for approx. 8 seconds , so that the cache rebuilds to full capacity. A listener would not notice the pause on the air, because they are listening to the program post-delay.
Re: technology question answered...
> > > As for how modern digital delays work, I couldn't tell
> > > you...
>
> > Modern delays work much like buffering in your media
> > player... it loads up a set amount of data and plays it
> back
> > X many seconds later.
>
> When the digital delay senses silence (or a long pause) it
> starts to build up the cache (short-term memory) again -
> until it reaches the full 8 seconds (or whatever setting it
> is on).
>
> After a call has been dumped, the best thing to do is for
> the talent to pause for approx. 8 seconds , so that the
> cache rebuilds to full capacity. A listener would not notice
> the pause on the air, because they are listening to the
> program post-delay.
>
thanks for all the info guys....this is mroe ocmplicated than i thought...interesting though
> > > As for how modern digital delays work, I couldn't tell
> > > you...
>
> > Modern delays work much like buffering in your media
> > player... it loads up a set amount of data and plays it
> back
> > X many seconds later.
>
> When the digital delay senses silence (or a long pause) it
> starts to build up the cache (short-term memory) again -
> until it reaches the full 8 seconds (or whatever setting it
> is on).
>
> After a call has been dumped, the best thing to do is for
> the talent to pause for approx. 8 seconds , so that the
> cache rebuilds to full capacity. A listener would not notice
> the pause on the air, because they are listening to the
> program post-delay.
>
thanks for all the info guys....this is mroe ocmplicated than i thought...interesting though
J
Joe_NE
Guest
Re: technology question NOT answered by Boston Area Radio Guy
> When the digital delay senses silence (or a long pause) it
> starts to build up the cache (short-term memory) again -
> until it reaches the full 8 seconds (or whatever setting it
> is on).
>
> After a call has been dumped, the best thing to do is for
> the talent to pause for approx. 8 seconds , so that the
> cache rebuilds to full capacity. A listener would not notice
> the pause on the air, because they are listening to the
> program post-delay.
Sorry Radio Guy,
I think you are mistaken. The type of Delay you describe builds up by adding a bit MORE pause Post delay to an existing PRE delay pause. Your suggestion that talent pause 8 seconds to build the delay would only add more than 8 seconds of DEAD AIR to Post delay (the air signal). The listener WOULD hear that dead air.
That system memory DUMP empties the cache and the output becomes LIVE. The delay then builds by stretching pauses. This sounds peculiar with music but smoother with voice. One problem with this system is when it is the host or in-studio guest that needs to be censored. If you DUMP the memory and you need to censor again real soon you may not have enough in the buffer to make the edit. That is, it takes time to re-build up to that 8 second delay.
> When the digital delay senses silence (or a long pause) it
> starts to build up the cache (short-term memory) again -
> until it reaches the full 8 seconds (or whatever setting it
> is on).
>
> After a call has been dumped, the best thing to do is for
> the talent to pause for approx. 8 seconds , so that the
> cache rebuilds to full capacity. A listener would not notice
> the pause on the air, because they are listening to the
> program post-delay.
Sorry Radio Guy,
I think you are mistaken. The type of Delay you describe builds up by adding a bit MORE pause Post delay to an existing PRE delay pause. Your suggestion that talent pause 8 seconds to build the delay would only add more than 8 seconds of DEAD AIR to Post delay (the air signal). The listener WOULD hear that dead air.
That system memory DUMP empties the cache and the output becomes LIVE. The delay then builds by stretching pauses. This sounds peculiar with music but smoother with voice. One problem with this system is when it is the host or in-studio guest that needs to be censored. If you DUMP the memory and you need to censor again real soon you may not have enough in the buffer to make the edit. That is, it takes time to re-build up to that 8 second delay.
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