A tempo-syncable stereo echo whose repeats thin, darken and warm as they decay.
Inlets
Audio
2
Outlets
Audio
2
Body, Damp and Drive sit inside the feedback loop, so each pass through the loop applies them again: the first repeat is shaped once, the fifth five times. That is what makes a tail sound like it is moving away rather than being copied. Past three quarters of Feedback it holds a note for as long as you like, and the read point moves every sample, so turning Time by hand bends pitch instead of clicking.
Parameters
Mode
Stereo keeps each side to itself. Ping-pong crosses the feedback so every repeat lands on the opposite side from the one before.
Time
Delay time in milliseconds. Ignored while Sync is on.
Sync
Locks the time to the transport instead of milliseconds.
SyncMultiplier
How many units of SyncUnit make one repeat while Sync is on.
SyncUnit
The note value the synced time counts in, such as 1/8 or 1/16.
Feedback
How much of each repeat becomes the next. Low is a slap, high is a tail that outlives the note.
Spread
Leans the right side's time away from the left, opening the echo across the image. Zero keeps the two sides together.
Body
Thins each repeat from below, so a tail steps out of the way of the bass instead of piling up under it.
Damp
Darkens each repeat from above. This is the control that turns a clean digital echo into a room or a tape.
Drive
Warms each repeat. At zero the loop is clean; higher, the tail thickens as it decays.
Glide
What happens when Time changes. Tape slides the read point, so the repeats bend in pitch on the way. Fade crossfades the old repeats into a new set at the new time, with no pitch change; use it when Time follows the transport.
Mix
How much echo is heard against the dry signal.
Recipe
Dub tail
Sync on, SyncUnit 1/8 with a multiplier of 3 for a dotted feel, Feedback around 0.7, Damp 0.6, Drive 0.3, Mode Ping-pong. Send a short stab in and let the tail carry the rhythm; ride Feedback towards the top for a build and back down to clear it.
