The second version (with effect) does have more life.  Nice job.
 
In both versions, the sound on the right sounds odd to me, but, of course, I am hearing it completely out of context. 

This paper was written by an Ph. D. that has worked as an Electronics Engineer at the Space Science Center:
 
https://courses.physics.i...otes/P406POM_Lect7.pdf
 
A portion of it documents the idea that humans need a minimum time duration to appreciate pitch. It states that minimal time for perception occurs with periodic sinusoidal signals and it points out that pulses of a continuum of frequencies are examples of anharmonic sound and the frequency of pulses are not recognized as pitch.
 
I point this out as a relation to the premise in the OP that a time delay, with no feed back can somehow be related to a pitch or note.
 
If the content being delayed is of a periodic and sinusoidal nature than you need several cycles of delay, as feedback, to contribute to an impression that the effect is related to some pitch. The paper explains how the best listeners require 4 cycles to perceive a frequency such as 100Hz and 13 cycles for 1000Hz.
 
If the content being delayed is of a anharmonic nature... it isn't likely to be perceived as making any harmonic contribution to an impression of the result regardless of the number of cycles that are heard via the feedback.
 
 
In summary, the differences heard in the OP example are actual, but it is unlikely that choosing a delay time, especially with no feedback, in relation to some reference note contributed to the effect in any way that can be attributed to a harmonic relationship between the delay timing and the note. 
 
If you want to relate a delay time effect to a reference note. Use the delay on periodic tones (melodic and harmonic sources rather than anharmonic percussion) and make sure to set some feedback so you can get enough cycles to play through.
 
If you want to add some delay to your anharmonic percussion to ****e things up... pick a number. They'll all do something.
 
best regards,
mike
 
 
 

Good tip.. I like my Egg Shakers. Sounds real cool with stereo mike set up and you move them in and out. I sometimes hold 2 in my hand. 

Thank you for amplifying the geek factor! I don't feel so alone. However, regarding peak levels, I should have added that I normalized the before and after so any level differences wouldn't affect how the other elements were perceived. Also the stereo is very different because the original tracks were mono-as-stereo, but having different delays in the left and right delay lines automatically creates a stereo image. There's still an audible effect if you combine them back into mono, and a lesser effect if you choose one channel or the other.

Mike - what that paper doesn't take into account is that in this case, the sense of pitch does not depend solely to the delay. It is due to the delay being mixed with the dry signal. The resulting comb filtering provides the sense of pitch. The delay is just an accomplice. In this application feedback changes only the timbre, not the pitch.

mike_mccue
 
I point this out as a relation to the premise in the OP that a time delay, with no feed back can somehow be related to a pitch or note.
 

Ok, I played this back a lot louder than this morning, now that no one is sleeping, and I can definitely hear a difference, and also in pitch.  On the right, the sound takes longer from start to end and the impression I get is that this difference is enough to lower (kind of opens up) the sound.
 
 On the left, it sounds like the pitch rises slightly.
 

Anderton
...the geek factor! I don't feel so alone...

Don't worry about that. For some of us, the science associated with music is almost as fascinating as the music itself.

Paul P

Anderton
It's only a 1.5MB file. Two percussion parts are playing simultaneously. The first half is without the resonator, the second half with.

I haven't used headphones, but I can't hear a difference happening anywhere in the file...

I'm listening on computer speakers and I can't hear any difference whatsoever.

Kev999
 
Don't worry about that. For some of us, the science associated with music is almost as fascinating as the music itself.

Almost ?  I could spend the rest of my life learning about the science and it would offer me an excuse for the fact that I struggle to produce anything musical.
 
In the last few days I've exploited the (very unfair, in my mind) access I have to scientific journals, being a returned-after-many-decades university student.  MIT's Computer Music Journal and Cambridge's Organized Sound have been my most recent targets for massive downloading.
 
 
 

My immediate reaction was the more interesting stereo imaging that resulted from the effect. I not sure it has to relate to the key of the tune in order for it to be effective. The very fact you are setting up two tight delays is interesting enough. It is creating the image but not flamming the hits as yet. So it is not interfering with the timing of the persussion.
 
That part on the right is the off beats but it is late compared to the on beats. As a drummer I would sort that out and get it tighter. Having a slower attack on that sound means I would advance it in relation to the on beat sounds too. It would kick it a little more instead of dragging it a little.