ico1 Delay

Band Delay

Delays are followed by user selectable modulated filters.

  • Mix: Wet/dry mixer, 100% is all wet signal.

  • Delay Mix: Controls the relative level of Delay A and Delay B. Delay Mix’s mixing behavior depends on whether you’re using mono or stereo outputs.

    For mono output:

    • Delay Mix = 0%, output 1 will have only delay A’s contribution.

    • Delay Mix = 50%, output 1 has an equal amount of delay A and delay B.

    • Delay Mix = 100%, output 1 will have only delay B’s contribution.

    For stereo output:

    • Delay Mix = 0%, both outputs will have only delay A’s contribution.

    • Delay Mix = 50%, delay A goes to output 1 only and delay B goes to output 2 only.

    • Delay Mix = 100%, both outputs will have only Delay B’s contribution.

  • Delay A: Sets delay time from 0 to 3000 ms (milliseconds). With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value from No Delay to a whole note in common note increments.

  • Delay B: Same as A.

  • Feedback A: Controls level of Feedback A, the number of repeats.

  • Feedback B: Same as A.

  • Resonance: Sets the resonance or sharpness of the filter. Varies from 0 (subtle effects) to 10 (dramatic resonance effects).

  • Modulation Depth: Sets the amount that the filter cut-off or center frequencies are modulated/shifted.

  • Modulation Speed: Sets the modulation rate for the filter center frequencies (0 to 5 Hz).

  • Filter: Select filter type – Low Pass, Band Pass or Hi Pass.

Performance Parameters

  • Repeat: A momentary or latching parameter that sets the feedback to the highest value.

Factory Presets

  • Guitars in Space

  • Haw Echoes1

  • Haw Echoes2

  • Hidden Pillars

  • LastFewBricks2

  • Over The Rainbow

  • Phasery Band

  • Phasery Band2

  • Reggae WahDelay Dark

  • Time Slips1

  • Time Slips2

  • Time Slips3

  • Wah Echo1

Bouquet Delay

Pronounced Bucket. An emulation of analog delay pedals with two different flavors and a couple of modern tricks.

  • Mix: wet/dry mixer, 0 to 50 mixes in the delayed signal, 50 to 100 mixes out the dry signal.

  • Delay: Delay length control for the Delay mode in milliseconds. Shorter delay lengths brighten the signal delay line output. Both LoFi and Modern modes can make use of the full delay time range, but the hardware that served as the inspiration for LoFi mode was only intended to be used up to 300 ms. Anything above that and you’re seriously under-clocking the chip.

  • Feedback: Controls the level of feedback in the delay path for both the Short and Long delay modes. Capable of driving the delay into self oscillation close to 10 (not precise due to other settings in the BBD affecting feedback) in Modern mode, and at varying amounts (depending on delay time settings) in LoFi. (75 ms to 1000 ms)

  • Mod Depth: Controls the amount of modulation applied to the BBD delay line. Note that modulation amounts will vary depending on the Delay time.

  • LFO Rate: Controls the speed/rate of the modulation LFO. (0.01 Hz to 20 Hz)

  • LFO Shape: LFO Shape of the modulation oscillator. The choices are:

    • SINE

    • FATSINE

    • TRIANGLE

    • SQUARE

    • SAW

    • RAMP

    • NOISE

  • Delay Mode: (Lofi/Modern) Two different options for delay sounds. LoFi emulates an early bucket brigade pedal that was limited to a delay time of 300 ms. Modern will be a little brighter/cleaner sounding and the self-oscillation will be a little more uniform.

  • Jump Interval: Controls the ratio used to jump the delay time when using the PitchJump performance parameter. (m3, M3, P4, P5, Oct.)

  • Stereo Tap Division: When stereo outputs are connected, a second tap out of the BBD emulation is connected to the second channel. This controls the point at which this second delay is tapped out of the BBD.

Performance Parameters

  • Self Osc: A momentary or latching performance parameter that causes the BBD emulation to self-oscillate.

  • Pitch Jump: A momentary or latching performance parameter that instantaneously scales the delay time (clock frequency) of the BBD emulation by the ratio determined by the Jump Interval parameter. This causes a momentary pitch shift of any sound being fed back through the BBD emulation.

  • Retrigger: Retriggers the modulation LFO to the beginning of the cycle. Useful for re-syncing during playback, or creative effects.

Factory Presets

  • Allium

  • Flower Power

  • Gimme Some Reggae

  • LeakyBucket

  • Nice Slap

  • Rosebud

  • Unintended

Digital Delay

Twin 3 second delays with independent delay time and feedback controls.

  • Mix: wet/dry mixer, 100% is all wet signal.

  • Delay Mix: Controls the relative level of Delay A and Delay B. Delay Mix’s mixing behavior depends on whether you’re using mono or stereo outputs.

    For mono output:

    • Delay Mix = 0%, output 1 will have only delay A’s contribution.

    • Delay Mix = 50%, output 1 has an equal amount of delay A and delay B.

    • Delay Mix = 100%, output 1 will have only delay B’s contribution.

    For stereo output:

    • Delay Mix = 0%, both outputs will have only delay A’s contribution.

    • Delay Mix = 50%, delay A goes to output 1 only and delay B goes to output 2 only.

    • Delay Mix = 100%, both outputs will have only Delay B’s contribution.

  • Delay A: Sets delay time from 0 to 3000 ms (milliseconds). With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value from No Delay to a whole note in common note increments.

  • Delay B: Same as A.

  • Feedback A: Controls level of Feedback A, the number of repeats.

  • Feedback B: Same as A.

  • X-Fade: When delays change, performs a crossfade function to prevent abrupt changes that could result in glitching or clicking. X-Fade sets the speed of the crossfade. Small values result in rapid crossfades, larger values more gradual crossfades. Crossfade rates vary from 2 ms to 200 ms.

  • Modulation Depth: Selects the amount of delay modulation (0 = Off, 10 = Max).

  • Modulation Speed: Sets the delay modulation rate (0 - 5 Hz).

  • Filter: A low pass/high pass filter variable from -100 (max high pass) to 0 (no filtering) to 100 (max low pass) to change the tone of your delay repeats.

Performance Parameters

  • Repeat: A momentary or latching parameter that sets the feedback to the highest value.

Factory Presets

  • 1.. And 2

  • Ambient Delay

  • AnothrBrick1

  • Big Nice Day

  • Big Warm Digital

  • Bridge Of Sighs

  • ChorusyTrem

  • ComfNumbVerse

  • Copy Cat

  • DDLY

  • Dual Big Warm Digital

  • EVPREMIX

  • Filtered Digital

  • Flaser

  • LastFewBricks1

  • Pristine Digital Delay

  • RunRunRun

  • Storm Brewing1

  • Storm Brewing2

  • Trem Delays

  • TwinDelay

  • What I’m Looking For

Ducked Delay

The delay levels are dynamically lowered while you’re playing and restored to their normal levels when you stop playing.

  • Mix: wet/dry mixer, 100% is all wet signal.

  • Delay Mix: Controls the relative level of Delay A and Delay B. Delay Mix’s mixing behavior depends on whether you’re using mono or stereo outputs.

    For mono output:

    • Delay Mix = 0%, output 1 will have only delay A’s contribution.

    • Delay Mix = 50%, output 1 has an equal amount of delay A and delay B.

    • Delay Mix = 100%, output 1 will have only delay B’s contribution.

    For stereo output:

    • Delay Mix = 0%, both outputs will have only delay A’s contribution.

    • Delay Mix = 50%, delay A goes to output 1 only and delay B goes to output 2 only.

    • Delay Mix = 100%, both outputs will have only Delay B’s contribution.

  • Delay A: Sets delay time for Delay A output from 0 to 3000 ms (milliseconds). With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value - changing this from 0 to a whole note in common note increments.

  • Delay B: Same as A.

  • Feedback A: Controls level of Feedback A, the number of repeats.

  • Feedback B: Same as A.

  • Ducking Ratio: Sets the ducking ratio or the degree to which the delay is attenuated.

  • Threshold: Sets the ducking threshold - the audio amplitude - at which ducking kicks in (-36 dB to -66 dB).

  • Release Time: Sets the release time from 500 to 10 ms. With the release time set to short values, the delay will kick in quickly when you stop playing. With the release time set to longer values, the delay will stay ducked for a while. Longer release times are useful when you’re playing a riff and don’t want the delay to kick in between notes.

  • Filter: A low pass/high pass filter variable from -100 (max high pass) to 0 (no filtering) to 100 (max low pass) to change the tone of your delay repeats.

Performance Parameters

  • Repeat: A momentary or latching parameter that sets the feedback to the highest value.

Factory Presets

  • ComfNumbSolo

  • Country Compressor

  • Country Compressor

  • DontLeaveMe

  • ThinIce

  • Volume Swell Helper

Filter Pong

The dual delays ping pong between the outputs with filter effects added for good measure.

  • Mix: wet/dry mixer, 100% is all wet signal.

  • Delay Mix: Controls the relative level of Delay A and Delay B. Delay Mix’s mixing behavior depends on whether you’re using mono or stereo outputs.

    For mono output:

    • Delay Mix = 0%, output 1 will have only delay A’s contribution.

    • Delay Mix = 50%, output 1 has an equal amount of delay A and delay B.

    • Delay Mix = 100%, output 1 will have only delay B’s contribution.

    For stereo output:

    • Delay Mix = 0%, both outputs will have only delay A’s contribution.

    • Delay Mix = 50%, delay A goes to output 1 only and delay B goes to output 2 only.

    • Delay Mix = 100%, both outputs will have only Delay B’s contribution.

  • Delay A: Sets delay time for Delay A output from 0 to 3000 ms. With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value - changing this from 0 to a whole note in common note increments.

  • Delay B: Same as A.

  • Feedback A: Controls level of Feedback A, the number of repeats. The FilterPong Effect is created by cross connecting the feedback paths of the twin delays. As a result, only a single feedback control is needed.

  • Slur: Controls the diffusion of the repeats. With low diffusion the repeats are discrete. Increasing diffusion slurs the repeats.

  • Modulation Wave Shape: Selects the shape of the filter modulation. The options are:

    • Sine

    • Triangle

    • Square

  • Modulation Depth: Sets the filters’ amount of frequency modulation.

  • Modulation Speed: Speed multiplier for filter modulation.

  • Filter: Controls the mix of dry/filtered signal input to ping-pong delay.

Performance Parameters

  • Repeat: A momentary or latching parameter that sets the feedback to the highest value.

Factory Presets

  • GooeyFilterOPong

  • Nice Thick Thickener

  • Pong Echoes

  • Schizo Delay

  • Science Museum

  • Springy Verb

  • WubbaWubbaWub

Head Space

An authentic emulation of classic tape delays from days past; only this time you’re in complete control. Adjustable playback heads let you decide just how many you have and where they are in relation to the record head. Wow and Flutter, Drive, Hiss, and Filter controls can change this machine from one that’s come fresh from the factory into one that just got dug up from the deepest, dustiest corners of the gear closet while two performance parameters can add some dramatic emphasis to live performances.

  • Mix: Controls the levels of the dry and wet (tape delayed) signals to the output of the effect. 0 to 5 mixes in the delayed signals. 5 to 10 mixes out the dry signal.

  • Delay Time: Controls the longest delay length possible of any one Head by changing the tape speed. Use a Head Div of 1 to reach full delay time of any one tap. 200-3000 ms.

  • Speed: Runs the tape emulation at either Half or Full speed while keeping the overall delay amounts the same. At Full speed the machine ranges from 30 ips to 1.875 ips. At Half the machine ranges from 15 ips to a glacially slow speed of 0.9375 ips.

  • Rec Drive: Higher levels saturate the tape creating an overdriven sound

  • Feedback: Master Feedback control for all Heads. Capable of driving the tape delay into self oscillation from around 7 to 10 (not precise due to other settings affecting feedback structure and levels in the feedback loop).

  • Fdbk Path: Controls which Heads contribute their output to the feedback loop. The options are:

    • 1, 2, 3, or 4

    • 1 & 2

    • 1 & 3

    • 1 & 4

    • 2 & 3

    • 2 & 4

    • 3 & 4

    • 1 & 2 & 3

    • 1 & 2 & 4

    • 1 & 3 & 4

    • 2 & 3 & 4

    • All

  • Wow & Flutter: Controls the amount of mechanical anomalies of a real tape machine. These anomalies manifest as pitch warbles and delay variations. Use 0 for a perfectly constructed and maintained high end tape machine. Use 10 for a lower end, old tape machine in need of some serious repair.

  • Tape Hiss: Controls the amount of tape hiss. 0 is no hiss. 10 is the most amount of hiss. Control is global over all playback heads.

  • Filter: Equalization control for all Head outputs. The outputs of the EQs are in the feedback loop. -10 to 0 Low cut shelf. 0 to 10 Hi cut filter (low pass).

The following parameters apply to all 4 tape heads:

  • Head Level: Playback level of each tape head sent to the output of the effect. 0 is OFF. 10 is maximum. Does not control the levels of each feedback loop.

  • Head Div: Controls where each playback head is located in relation to the record head and the max delay time. In fraction units of the max delay time set by the Delay Time control. This control is continuously adjustable in percentage increments between two divisions. This can be used to have repeats that perfectly in sync, or to space the Heads imprecisely like they would be on an actual unit. The following options all include adjustments of +/- 0 to 50%

    • 1/8

    • 1/6

    • 1/4

    • 1/3

    • 1/2

    • 2/3

    • 3/4

    • 5/6

    • 7/8

    • 1

  • Pan: Individual Panning controls for each Head output. -100 is left panned and 100 is right panned. Panning follows a -3 dB pan law.

  • Boil Time: Controls the time it takes for the Boil performance parameter to ramp up to its apex. 200 to 10000 ms.

  • Break Time: Controls the time it takes for the machine to ramp down to its slowest speed when the Breakdown performance parameter is engaged. 200 to 10000 ms.

Performance Parameters

  • Boil: These reels sure do seem like they’re spinning fast. Does anyone smell smoke?

  • Breakdown: Someone pulled the plug, the servos have decided they’re tired of spinning. Either way things really seem to be s l o w i n g d o w …

Factory Presets

  • DeadSpace

  • Head Space

  • Heartbreak Vibe

  • MultiTape Tap

  • Old Age Deviant

  • Shorty Pickin

  • Warm Slap

  • Whole Lotta Drive

  • Wild Echoes

Mod Delay

Modulated delays – great for creating chorus effects and chorused delays.

  • Mix: wet/dry mixer, 100% is all wet signal.

  • Delay Mix: Controls the relative level of Delay A and Delay B. Delay Mix’s mixing behavior depends on whether you’re using mono or stereo outputs.

    For mono output:

    • Delay Mix = 0%, output 1 will have only delay A’s contribution.

    • Delay Mix = 50%, output 1 has an equal amount of delay A and delay B.

    • Delay Mix = 100%, output 1 will have only delay B’s contribution.

    For stereo output:

    • Delay Mix = 0%, both outputs will have only delay A’s contribution.

    • Delay Mix = 50%, delay A goes to output 1 only and delay B goes to output 2 only.

    • Delay Mix = 100%, both outputs will have only Delay B’s contribution.

  • Delay A: Sets delay time from 0 to 3000 ms (milliseconds). With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value from No Delay to a whole note in common note increments.

  • Delay B: Same as A.

  • Feedback A: Controls level of Feedback A, the number of repeats.

  • Feedback B: Same as A.

  • Modulation Wave Shape: Selects the modulation wave shape. There are two choices for each wave shape. The single waveforms modulate the two delays in phase and the double waveforms modulate the two delays out of phase.

  • Modulation Depth: Selects the amount of delay modulation (0 = Off, 20 = Max).

  • Modulation Speed: Sets the delay modulation rate (0 - 5 Hz).

  • Filter: A low pass/high cut filter variable from -100 (max low cut) to 0 (no filtering) to 100 (max high cut).

Performance Parameters

  • Repeat: A momentary or latching parameter that sets the feedback to the highest value.

Factory Presets

  • 1.. And 2 Mod

  • ChorusPhase No Delay

  • Creepy

  • Every Lead You Fake

  • Funk Echo

  • LazyPhasy

  • Lost Lunch

  • Pedal Pitch

  • PhaserEcho1

  • PhaserEcho2

MultiTap

10 delay taps with controls for delay time, diffusion, tap levels, and tap spacing.

  • Mix: wet/dry mixer, 100% is all wet signal.

  • Delay Mix: Controls the relative level of Delay A and Delay B. Delay Mix’s mixing behavior depends on whether you’re using mono or stereo outputs.

    For mono output:

    • Delay Mix = 0%, output 1 will have only delay A’s contribution.

    • Delay Mix = 50%, output 1 has an equal amount of delay A and delay B.

    • Delay Mix = 100%, output 1 will have only delay B’s contribution.

    For stereo output:

    • Delay Mix = 0%, both outputs will have only delay A’s contribution.

    • Delay Mix = 50%, delay A goes to output 1 only and delay B goes to output 2 only.

    • Delay Mix = 100%, both outputs will have only Delay B’s contribution.

  • Delay A: Sets delay time from 0 to 3000 ms (milliseconds). With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value from No Delay to a whole note in common note increments.

  • Delay B: Same as A.

  • Feedback A: Controls level of Feedback A, the number of repeats.

  • Feedback B: Same as A.

  • Slur: Controls the diffusion of the repeats from discrete to slurred.

  • Taper: Sets the relative level (taper) of the taps. With Taper at -10, the 1st tap is the quietest and the last tap loudest. With Taper at 0, all taps are equally loud. With Taper at 10, the 1st tap is loudest and the last tap quietest.

  • Spread: Sets the spacing between taps from 0 (spacing increases) to 5 (taps are equally spaced) to 10 (spacing between taps decreases).

  • Filter: Tone control that reduces high frequencies to darken the ambient sounds that you create.

Performance Parameters

  • Repeat: A momentary or latching parameter that sets the feedback to the highest value.

Factory Presets

  • 500 Seater

  • Airplane Hanger

  • Ambient Multi

  • AutoMarch

  • Big SwellPad1

  • EmptySpace

  • Galloper Multi

  • Ghost Town

  • King’s Missile

  • Multi Hall

  • Multi WetLive

  • Strummer

  • Strummer2

  • Tapomatic

  • Tapper

  • Worms

Reverse

Reverse audio effects. Audio is broken into segments, are played backwards and spliced. Crossfading at the splice points prevents nasties. X-Fade controls the length of the crossfade. Small values result in fast crossfades adding an audible rhythm to the effect. Larger values result in long crossfades and a smoother reverse sound.

  • Mix: wet/dry mixer, 100% is all wet signal.

  • Delay Mix: Controls the relative level of Delay A and Delay B. Delay Mix’s mixing behavior depends on whether you’re using mono or stereo outputs.

    For mono output:

    • Delay Mix = 0%, output 1 will have only delay A’s contribution.

    • Delay Mix = 50%, output 1 has an equal amount of delay A and delay B.

    • Delay Mix = 100%, output 1 will have only delay B’s contribution.

    For stereo output:

    • Delay Mix = 0%, both outputs will have only delay A’s contribution.

    • Delay Mix = 50%, delay A goes to output 1 only and delay B goes to output 2 only.

    • Delay Mix = 100%, both outputs will have only Delay B’s contribution.

  • Delay A: Sets delay time for Delay A output. With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value - changing this from 0 to a whole note in common note increments.

  • Delay B: Same as Delay A

  • Feedback A: Controls level of Feedback A, the number of repeats.

  • Feedback B: Same as Feedback A.

  • X-Fade: In Reverse, the audio segments are read backwards and must be spliced. Crossfades occur at the splice point to prevent abrupt changes that could result in glitching or clicking. X-Fade sets the rate of the crossfade. Small values result in fast crossfades and a more audible rhythm for the reverse effect, larger values more gradual crossfades and a smoother reverse sound. Crossfade rate is variable from 2 ms to 200 ms.

  • Modulation Depth: Selects the amount of modulation (0 = Off, 10 = Max).

  • Modulation Speed: Sets the delay modulation rate (0 - 5 Hz).

  • Filter: A low pass/high pass filter variable from -100 (max high pass) to 0 (no filtering) to 100 (max low pass) to change the tone of your delay repeats.

Performance Parameters

  • Repeat: A momentary or latching parameter that sets the feedback to the highest value.

Factory Presets

  • Backwards All

  • Backwards All2

  • Backwards Riffs

  • Dring Modulator

  • Ethereal Echoes

  • Inside Out

  • Ramp Up Reverse

  • Reverse Flutters

  • Reverse Flutters2

  • Reverse No Crystals

  • Reverse Space

  • Reverse Space2

  • Reverse Space3

Tape Echo

Simulates the hiss, wow and flutter of analog tape delay. The earliest delays were achieved using tape machines - record on one magnetic ‘head’ and playback a bit later on second magnetic head. Magnetic tape can be driven into its own unique kind of distortion. Tape Echo’s saturation control allows you to adjust the amount. The Wow and Flutter controls simulate the effect of the tape transport failing to move the tape at a smooth, constant rate.

  • Mix: wet/dry mixer, 100% is all wet signal.

  • Delay Mix: Controls the relative level of Delay A and Delay B. Delay Mix’s mixing behavior depends on whether you’re using mono or stereo outputs.

    For mono output:

    • Delay Mix = 0%, output 1 will have only delay A’s contribution.

    • Delay Mix = 50%, output 1 has an equal amount of delay A and delay B.

    • Delay Mix = 100%, output 1 will have only delay B’s contribution.

    For stereo output:

    • Delay Mix = 0%, both outputs will have only delay A’s contribution.

    • Delay Mix = 50%, delay A goes to output 1 only and delay B goes to output 2 only.

    • Delay Mix = 100%, both outputs will have only Delay B’s contribution.

  • Delay A: Sets delay time for Delay A output B from 0 to 3000 ms (milliseconds). With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value - changing this from 0 to a whole note in common note increments.

  • Delay B: Same as Delay A.

  • Feedback A: Controls level of Feedback A, the number of repeats.

  • Feedback B: Same as Feedback A.

  • Saturation: Simulates analog tape saturation. Ranges from ‘0’ (none) to ‘10’ (max) for the warm compression and distortion associated with overdriven tape.

  • Tape Wow: Simulates analog tape Wow. Wow is a term used to describe relatively slowly changing pitch and amplitude modulations caused by problems with the motor or tape transport that causes the tape’s motion across the head to vary. A well maintained tape recorder should have no audible Wow. Ranges from ‘0’ (none) to ‘10’ (max).

  • Tape Flutter: Simulates tape machine Flutter. Like Wow, Flutter is caused when the tape motion across the magnetic heads isn’t constant. Flutter is a more rapidly changing variation than Wow. Flutter ranges from 0 (none) to 10 (max).

  • Filter: Controls the filter characteristics to simulate tape recorder frequency response. As you increase the filter value, you’ll hear a more pronounced tape tone.

Performance Parameters

  • Repeat: A momentary or latching parameter that sets the feedback to the highest value.

Factory Presets

  • Be Wowed

  • Classic Slap

  • Echo

  • Fibonacci Tape

  • FlutterWow

  • Lennon Slap

  • Multi Slap

  • Record Head

  • ReelToReel

  • Tape For Vocals

  • TapeDrone

  • Warped Record

UltraTap

UltraTap is a versatile multi-tap delay-line effect capable of a myriad of sounds from rhythmic and glitchy delays, to wacky comb filtering, to huge pad-like volume swells, to unique reverbs, tremolos, and everything in between. It’s the perfect tool for creating drum fills, vocal choruses, swelling guitar chords and other evolving effects.

ultratap_signalflow.png

Fig. 2 UltraTap’s signal flow diagram

The UltraTap parameters detailed below affect the various signal path blocks shown above. For simplicity only the wet path is diagrammed. Mono In / Mono Out instantiations are center panned with wet output taken off of the left Tap Delay output shown in the diagram.

  • Mix: Wet/Dry mix, where 100 is an all wet signal. It has a special nonlinear taper which puts most of the knob travel in the most usable range.

  • Length: Total time over which the Taps are spaced in, up to 10 seconds.

  • Taps: The number of delay taps, from 1 to 64.

  • Predelay: The amount of time before the first Tap starts, up to 1 second.

  • Spread: The rhythmic spacing of the taps.

    • Positive values will group more taps towards the end for a “speeding-up” delay sound.

    • Negative values will group taps towards the beginning, for a “slowing-down” feeling.

    • Zero results in constant spacing.

  • Taper: Controls the fade of the taps.

    • Positive values for a fade-down over the taps.

    • Negative values for fade-up over the taps.

    • Zero will result in equal gain across all taps.

  • Feedback: Repaets of a length-valued delay that is fed back around the entire multi-tap machine.

  • Tone: A tone control.

    • Positive values for brighter sounding taps.

    • Negative values for darker sounding taps.

  • Slurm: Juicy tap slurring/smearing and modulation.

  • Chop: A pre-tap-machine “chopping’ tremolo OR auto-volume processor. The tremolo has several LFO waveform choices:

    • Off

    • Triangle

    • Sawtooth

    • Ramp

    • Square

    • SampHold: A randomized Sample and Hold.

    • Manual: External control of the pre-tap-machine volume. When selected, the Manual Chop parameter will control the Chop parameter.

    • Swell: Auto-volume processor for volume swells (0-9 input sensitivity control).

    • Trigger: A gating effect that chops off the end of sounds (0-9 input sensitivity control).

  • Speed, Rise, or Release: This knob acts as a multi-function parameter control for the Chop knob.

    • For the LFO waveforms, Speed will change the LFO speed.

    • For Swell, Rise will adjust the swell rise time.

    • For Trigger, Release sets the amount of time after triggering before the gate kicks in and chokes off the sound.

  • Width: Adjust how the taps are evenly distributed in the stereo field. 0 will result in the no distribution, while positive values will increasingly distribute the taps more, and negative values will reverse this image.

Performance Parameters

  • Retrigger: Retriggers the modulation LFO to the beginning of the cycle. Useful for re-syncing during playback, or creative effects.

Factory Presets

  • Batman

  • Bouncing Ball

  • Bullfrog

  • Chop Hall

  • Clockworks

  • Disappearing Hall

  • Follow Me

  • Ghosthunter

  • GlitchTrigger

  • Huh Flange

  • Mosquito

  • Nano Studder

  • Six Pulsing

  • Slowing Down

  • Stutter

  • Synth Ghosts

  • TapSlap

  • UltraSwell

  • UltraTap

  • ZipperVerb

Vintage Delay

Simulates the sound of analog and digital delays from days gone by. To replicate a range of delay devices from the past, a ‘Bits’ parameter recreates the effect of primitive analog-to-digital converters. Anyone remember when it was a 10 bit world? The delays can be modulated to achieve chorusing or more extreme effects. A filter parameter controls the tone of the delayed signals.

  • Mix: wet/dry mixer, 100% is all wet signal.

  • Delay Mix: Controls the relative level of Delay A and Delay B. Delay Mix’s mixing behavior depends on whether you’re using mono or stereo outputs.

    For mono output:

    • Delay Mix = 0%, output 1 will have only delay A’s contribution.

    • Delay Mix = 50%, output 1 has an equal amount of delay A and delay B.

    • Delay Mix = 100%, output 1 will have only delay B’s contribution.

    For stereo output:

    • Delay Mix = 0%, both outputs will have only delay A’s contribution.

    • Delay Mix = 50%, delay A goes to output 1 only and delay B goes to output 2 only.

    • Delay Mix = 100%, both outputs will have only Delay B’s contribution.

  • Delay A: Sets delay time for Delay A from 0 to 3000 ms (milliseconds). With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value - changing this from 0 to a whole note in common note increments.

  • Delay B: Same as Delay A.

  • Feedback A: Controls level of Feedback A, the number of repeats.

  • Feedback B: Same as Feedback A.

  • Bits: Selects the number of bits of resolution. Early digital delays used analog to digital converters with limited resolution. Theory predicts that each bit equals 6 dB of resolution; so that an 8 bit converter would deliver, at best, a mere 48 dB of dynamic range. Vintage Delay simulates the effects of limited resolution - the sound of nasty digital noise from years gone by.

  • Modulation Depth: Selects the amount of delay modulation (0 = Off, 10 = Max).

  • Modulation Speed: Sets the delay modulation rate (0 - 5 Hz).

  • Filter: Controls the filter to simulate the tone of band-limited old school delays.

Performance Parameters

  • Repeat: A momentary or latching parameter that sets the feedback to the highest value.

Factory Presets

  • 20 Years Racked

  • Ambient Vintage

  • Classic Chorus

  • FoundIt

  • Lo-Rez Trail

  • Long Old Delays

  • Long Vintage H9

  • Long Vintage2

  • Nice Old Echoes

  • Rotten Old Delay

  • SlapVintage

  • Streets

  • Two Vintage Echoes

  • UBetterRun

  • Vintage Filtered Echoes

  • Vintage Vocal

  • Where The Avenues Have No Name