Moulton Laboratories
the art and science of sound
Principles of Multitrack Mixing: the Use of Early Delays
By Dave Moulton, with Alex Case and Peter Alhadeff
November 1992

Early delays are those "echos" following the initial onset of a sound (usually room reflections), which effect a great impact on a sound's apparent quality.

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Defining "early"

I define short, or early, time delays as the reiterations of sound events that follow within the first twentieth of a second, or 50 milliseconds, of the original sound. They are usually caused by room reflections, and are closely allied to the idea of ambience, the sonic signature or character of a room. Generally, such reflections have an amplitude within 10 decibels of the original sound and, in conventional reverberant rooms, there are at least 6 - 10 of them for each sound event, all arriving at our ears from different directions.

Odd as it seems, a sound is not usually single event, but an amalgam of at least seven events (those early reflections plus the direct sound). A normal rectangular room of medium size (12 x 15 x 8 feet, for instance) has a floor, a ceiling and four walls (unless, of course, it is Spinal Tap’s motel room just before checkout). Therefore, any sound made in that room will travel to the listener via a direct path and at least six reflected paths. The original sound will take about 10 milliseconds to travel to the listener and the longest reflection path that represents only one reflection will probably take about 30 milliseconds. Therefore, all of those first reflections will get to the listener over a period of about 20 milliseconds, from different directions.
 
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Seven-path model of early reflections in a room. All of these sound-paths are perceived by the listener as part of a single sound, until some of the paths get so long that they begin to be heard as reverb or an echo.

Now then, we don’t perceive these reflections as such. Our auditory system integrates this family of early delays with the original sound, so that what we consciously hear appears to be a single sound that is actually an amalgam of direct sound and early reflections. This compound sound has a much richer timbre and a more interesting character than the single direct sound alone. Musicians have known this for years, which is why playing out of doors (where there are no early reflections) is not very popular.
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COMMENTS

Berlin, Germany     Jul 14, 2007 06:40 AM
David,

thank you for this great article. It has really helped my 3D mixing.
grin
Krischan 
Perth, Australia     May 06, 2008 07:48 AM
Wow, thanks for the article!

This has dropped a few pennies that've been waiting to fall for a long time, thank you very much!

But I have a question regarding the pro's and cons of the two different signal paths you gave us. With the second setup you said it was much more like a mid/side setup in that it was entirely mono compatible, however this was also a disadvantage as it meant the information was lost when the mix was mono.

However, isn't this a far better choice than what will happen with the first signal path when it is summed to mono, because in that case the 3D information becomes classified by our brains as timbre information and thus the sound will sound horrible and phasey? There would be NO 3D information from the delays left to make this a worthwhile choice?

Plus if it's an instrument you want panned centre I don't understand the benefit of having slightly varying delay times between the left and right channels? Sure you can try to offset the Haas effect by playing with the levels but what is the benefit of this extra work?

Cheers,
Antman
Anthony Manning-Franklin 
     Oct 27, 2010 05:02 PM
thanks for this great eye/ ear smile opening article! smile
matan 

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