My “aesthetics of delay” are similar to what audio engineers use, as rule of thumb, for using delay as an audio effect, or to add spatialization. These psychoacoustic phenomena (interaural time difference, interaural level difference, and head shadow) are useful not only for an audio engineer, but are also important for us when considering the effects and uses of delay in electroacoustic musical contexts.
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(To notice this phenomena in action, cover your left ear with your hand and with your free hand, rustle your fingers first in the uncovered ear and then in the covered one. We are able to discern small differences in timbre, too, as some high frequency sounds are literally blocked by our heads. We are able to detect tiny differences in volume between the ear that is closer to a sound source and the other. We are sensitive to delay times as short as a millisecond or less, as related to the size of our heads and the physical distance between our ears.
Sound travels at approximately 1,125 feet per second but though all sound waves we hear in a sound are travelling at the same speed, the low frequency waves (which are longer) tend to bend and wrap around objects, while high frequencies are absorbed or bounce off of objects in our environment.
I wrote about our responsiveness to miniscule differences in time, volume, and timbre between the sounds arriving in our ears, which is our skill set as humans for localizing sounds-how we use our ears to navigate our environment. We are sensitive to delay times as short as a millisecond or less.
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