531:
194:
247:
818:
36:
153:
324:, first made in 1959, that recreates the sound of an acoustic echo. Designed by Mike Battle, the Echoplex set a standard for the effect in the 1960s and was used by most of the notable guitar players of the era; original Echoplexes are highly sought after. While Echoplexes were used heavily by guitar players (and the occasional bass player, such as
148:
of sound that arrives at the listener with a delay after the direct sound. The delay is directly proportional to the distance of the reflecting surface from the source and the listener. Typical examples are the echo produced by the bottom of a well, a building, or the walls of enclosed and empty
269:
away. In nature, canyon walls or rock cliffs facing water are the most common natural settings for hearing echoes. The echo strength is frequently measured in sound pressure level (SPL) relative to the directly transmitted wave. Echoes may be desirable (as in systems).
254:
The human ear cannot distinguish echo from the original direct sound if the delay is less than 1/10 a second. The velocity of sound in dry air is approximately 341 m/s at a temperature of 25 °C. Therefore, the reflecting object must be more than
286:. Ultrasonic waves are sent in all directions from the ship and are received at the receiver after the reflection from an obstacle (enemy ship, iceberg, or sunken ship). The distance from the obstacle is found using the formula d = (V*t)/2.
282:, ultrasonic waves are more energetic than audible sounds. They can travel undeviated through a long distance, confined to a narrow beam, and are not easily absorbed in the medium. Hence, sound ranging and echo depth sounding uses
228:
Walls or other hard surfaces, such as mountains and privacy fences, reflect acoustic waves. The reason for reflection may be explained as a discontinuity in the
262:
from the sound source for the echo to be perceived by a person at the source. When a sound produces an echo in two seconds, the reflecting object is
239:
to be perceived distinctly. When sound, or the echo itself, is reflected multiple times from multiple surfaces, it is characterized as a
388:
372:
740:
250:
This illustration depicts the principle of sediment echo sounding, which uses a narrow beam of high energy and low frequency
467:
414:
185:
was a mountain nymph whose ability to speak was cursed, leaving her able only to repeat the last words spoken to her.
119:
100:
72:
57:
79:
579:
86:
700:
337:
204:, which produce echoes and receive sounds. Arrows illustrate the outgoing and incoming path of sound.
755:
635:
492:
460:
321:
212:(dolphins and whales) and bats, use echo for location sensing and navigation, a process known as
133:
68:
46:
847:
574:
484:
715:
613:
517:
310:
Electric echo effects have been used since the 1950s in music performance and recording. The
53:
24:
318:
236:
145:
8:
735:
645:
287:
232:
213:
197:
842:
821:
667:
657:
618:
453:
530:
791:
623:
410:
299:
20:
19:
This article is about the acoustic phenomenon. For echoes in telecommunications, see
801:
720:
684:
652:
603:
512:
333:
283:
229:
178:
93:
796:
750:
591:
549:
295:
193:
182:
745:
730:
677:
235:. This can be heard when the reflection returns with sufficient magnitude and
836:
710:
672:
640:
595:
557:
507:
502:
315:
291:
240:
201:
705:
341:
325:
290:
is the process of finding the depth of the sea using this process. In the
246:
725:
537:
786:
776:
562:
353:
567:
497:
476:
329:
137:
35:
662:
630:
311:
16:
Reflection of sound delayed after direct sound as heard by listener
344:
used electronic or digital circuitry to recreate the echo effect.
152:
608:
336:
also used the
Echoplex. Beginning in the 1970s, Market built the
209:
781:
279:
217:
445:
60:. Unsourced material may be challenged and removed.
409:. Chichester: John Wiley & Sons. p. 48.
834:
404:
340:Echoplex for Maestro. In the 2000s, most echo
461:
468:
454:
405:Wölfel, Matthias; McDonough, John (2009).
120:Learn how and when to remove this message
433:. India: Selina. 2024. pp. 150–152.
294:, ultrasonic waves of sound are used in
245:
192:
151:
835:
391:, Henry George Liddell, Robert Scott,
375:, Henry George Liddell, Robert Scott,
223:
449:
58:adding citations to reliable sources
29:
13:
14:
859:
441:
817:
816:
529:
305:
34:
216:. Echoes are also the basis of
45:needs additional citations for
423:
398:
382:
366:
273:
1:
475:
359:
431:Physics concise class X icse
169:derives from the Greek ἠχώ (
160:
7:
347:
10:
864:
407:Distant Speech Recognition
18:
812:
764:
693:
590:
548:
524:
483:
188:
328:, or trumpeter, such as
493:Architectural acoustics
393:A Greek-English Lexicon
377:A Greek-English Lexicon
134:audio signal processing
580:Fletcher–Munson curves
575:Equal-loudness contour
485:Acoustical engineering
251:
208:Some animals, such as
205:
157:
23:. For other uses, see
716:Hermann von Helmholtz
614:Fundamental frequency
518:Sympathetic resonance
249:
196:
173:), itself from ἦχος (
155:
25:Echo (disambiguation)
54:improve this article
736:Werner Meyer-Eppler
646:Missing fundamental
288:Echo depth sounding
224:Acoustic phenomenon
619:Frequency spectrum
252:
206:
158:
830:
829:
792:Musical acoustics
624:harmonic spectrum
334:recording studios
300:echo cardiography
130:
129:
122:
104:
21:Signal reflection
855:
820:
819:
721:Carleen Hutchins
653:Combination tone
540:
533:
513:String vibration
470:
463:
456:
447:
446:
435:
434:
427:
421:
420:
402:
396:
386:
380:
370:
284:ultrasonic waves
268:
267:
261:
260:
125:
118:
114:
111:
105:
103:
62:
38:
30:
863:
862:
858:
857:
856:
854:
853:
852:
833:
832:
831:
826:
808:
760:
751:D. Van Holliday
689:
658:Mersenne's laws
592:Audio frequency
586:
550:Psychoacoustics
544:
543:
536:
522:
479:
474:
444:
439:
438:
429:
428:
424:
417:
403:
399:
387:
383:
371:
367:
362:
350:
308:
296:ultrasonography
276:
265:
263:
258:
256:
226:
191:
183:Greek mythology
163:
126:
115:
109:
106:
63:
61:
51:
39:
28:
17:
12:
11:
5:
861:
851:
850:
845:
828:
827:
825:
824:
813:
810:
809:
807:
806:
805:
804:
799:
789:
784:
779:
774:
768:
766:
765:Related topics
762:
761:
759:
758:
753:
748:
746:Joseph Sauveur
743:
738:
733:
731:Marin Mersenne
728:
723:
718:
713:
708:
703:
697:
695:
691:
690:
688:
687:
682:
681:
680:
670:
665:
660:
655:
650:
649:
648:
643:
638:
628:
627:
626:
616:
611:
606:
600:
598:
588:
587:
585:
584:
583:
582:
572:
571:
570:
565:
554:
552:
546:
545:
542:
541:
534:
526:
525:
523:
521:
520:
515:
510:
505:
500:
495:
489:
487:
481:
480:
473:
472:
465:
458:
450:
443:
442:External links
440:
437:
436:
422:
416:978-0470714072
415:
397:
381:
364:
363:
361:
358:
357:
356:
349:
346:
307:
304:
275:
272:
225:
222:
190:
187:
162:
159:
128:
127:
42:
40:
33:
15:
9:
6:
4:
3:
2:
860:
849:
848:Audio effects
846:
844:
841:
840:
838:
823:
815:
814:
811:
803:
800:
798:
795:
794:
793:
790:
788:
785:
783:
780:
778:
775:
773:
770:
769:
767:
763:
757:
754:
752:
749:
747:
744:
742:
741:Lord Rayleigh
739:
737:
734:
732:
729:
727:
724:
722:
719:
717:
714:
712:
711:Ernst Chladni
709:
707:
704:
702:
699:
698:
696:
692:
686:
683:
679:
676:
675:
674:
673:Standing wave
671:
669:
666:
664:
661:
659:
656:
654:
651:
647:
644:
642:
641:Inharmonicity
639:
637:
634:
633:
632:
629:
625:
622:
621:
620:
617:
615:
612:
610:
607:
605:
602:
601:
599:
597:
593:
589:
581:
578:
577:
576:
573:
569:
566:
564:
561:
560:
559:
556:
555:
553:
551:
547:
539:
535:
532:
528:
527:
519:
516:
514:
511:
509:
508:Soundproofing
506:
504:
503:Reverberation
501:
499:
496:
494:
491:
490:
488:
486:
482:
478:
471:
466:
464:
459:
457:
452:
451:
448:
432:
426:
418:
412:
408:
401:
394:
390:
385:
378:
374:
369:
365:
355:
352:
351:
345:
343:
342:effects units
339:
335:
331:
327:
323:
320:
317:
313:
306:Echo in music
303:
301:
297:
293:
292:medical field
289:
285:
281:
271:
248:
244:
242:
241:reverberation
238:
234:
231:
221:
219:
215:
211:
203:
202:toothed whale
199:
195:
186:
184:
180:
176:
172:
168:
154:
150:
147:
143:
139:
135:
124:
121:
113:
102:
99:
95:
92:
88:
85:
81:
78:
74:
71: –
70:
66:
65:Find sources:
59:
55:
49:
48:
43:This article
41:
37:
32:
31:
26:
22:
771:
756:Thomas Young
706:Jens Blauert
694:Acousticians
430:
425:
406:
400:
395:, on Perseus
392:
384:
379:, on Perseus
376:
368:
326:Chuck Rainey
309:
277:
253:
227:
220:technology.
214:echolocation
207:
200:organs of a
198:Echolocation
177:), 'sound'.
174:
170:
166:
164:
141:
131:
116:
107:
97:
90:
83:
76:
64:
52:Please help
47:verification
44:
726:Franz Melde
701:John Backus
685:Subharmonic
538:Spectrogram
338:solid-state
274:Use of echo
230:propagation
837:Categories
787:Ultrasound
777:Infrasound
563:Bark scale
360:References
354:Light echo
146:reflection
80:newspapers
843:Acoustics
668:Resonance
568:Mel scale
498:Monochord
477:Acoustics
330:Don Ellis
210:cetaceans
165:The word
161:Etymology
138:acoustics
110:July 2023
822:Category
663:Overtone
631:Harmonic
348:See also
332:), many
312:Echoplex
609:Formant
149:rooms.
94:scholar
802:Violin
636:Series
413:
322:effect
233:medium
189:Nature
96:
89:
82:
75:
69:"Echo"
67:
797:Piano
782:Sound
596:pitch
558:Pitch
319:delay
314:is a
280:sonar
237:delay
218:sonar
175:ēchos
144:is a
140:, an
101:JSTOR
87:books
772:Echo
678:Node
604:Beat
594:and
411:ISBN
389:ἦχος
316:tape
298:and
257:17.2
179:Echo
171:ēchō
167:echo
156:Echo
142:echo
136:and
73:news
373:ἠχώ
302:.
278:In
264:343
181:in
132:In
56:by
839::
243:.
469:e
462:t
455:v
419:.
266:m
259:m
123:)
117:(
112:)
108:(
98:·
91:·
84:·
77:·
50:.
27:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.