5.1 Delay Plugin

[Calfu Baransky]

Haha, Backmask is amazing, one of my favorite plugins. But it's much more wild, extreme and weird, aimed at something that is BEYOND experimental music, and that can be only contained in the Freakshow Industries world.

You should be able to do this using the router in the channel editor to set up a channel split which splits stereo signals into pairs of mono signals for independent processing of left and right channel. With two splits, this turns a stereo signal into a pair of left/right mono signals. You can insert a copy of analog delay on both left and right, configure analog delay for mono processing, and get exactly the effect you want. It took me about a minute to configure my left channel for 5ms and my right channel for 20ms.

ValhallaDelay offers the classics, and expands them into new dimensions, with the unique Ratio and Quad delay styles, the Ghost mode (which adds frequency shifting), and a powerful diffusion section that can create anything from smeared echoes to ethereal reverbs.

The MODE Control in Valhalla Delay is a high-level control, that allows you to switch between different echo and delay algorithms. Click on the MODE control in the lower left corner to select the active algorithm. Selecting a new MODE can change the controls visible on the screen. Only the parameters that are active in a given MODE will be visible in the GUI.

A higher fidelity tape echo similar to that rigged up with reel-to-reel decks in a studio. It's designed to give you the ability to precisely sculpt sound with more control over mod rate/mod depth/EQ. The MOD Rate/Depth control the rate and depth of a random wow & flutter modulator. These rates are not a function of the delay setting, as they are in the Tape mode. Age controls asperity noise. No splicing artifacts in the HiFi mode.

A dark, low fidelity bucket brigade delay model, complete with compander artifacts, BBD noise, and a limited high frequency response. This is a dark and dirty delay model. MOD Rate/Depth control a smoothed triangle LFO, for adding subtle vibrato or pitch slews to the signal. Age controls the amount of the noise in the BBD. This will vary according to signal level, due to the action of the compander. ERA switches between darker BBD models, and a somewhat brighter Future model.

A digital delay with added pitch shifting. Perfect for micro-shifting vocals, adding harmonies to synths, creating vast shimmering soundscapes, or shrieking sounds forever spiraling up or down. PITCH Shift controls the overall pitch shifting of the signal in semitones. PITCH Detune allows the left and right channels to be detuned from each other in cents. Perfect for micropitch and doubling. ERA switches between different types of filtering and saturation.

A brighter BBD model, with brightness that tracks the delay time (shorter delays are brighter, while longer delays are darker). Based on our analysis of some beloved rack mounted BBD units from the early 1980s. A single knob ducking control has been added to the algorithm to create warm delays that are program dependent.

A delay designed to create the effect of a broken tape, such that any signal added to it can disappear into a haze of noise and fuzz. The mod rate, mod depth and age controls allow you to dial in the amount of artifacts, and the Era control allows you to switch between 3 different levels of brightness, from murky old tapes to a more modern full-frequency sound. Perfect for emulating tape echoes on the verge of breaking down, fuzzy reverbs that add a halo of noise to your sound, swarms of bees, subtle wobbles to the mix bus, and adding a patina of dusty age to any sound source.

Quartz is a delay mode as transparent as its namesake. The Quartz mode takes the filtering out of the feedback loop, and incorporates a nearly colorless limiter, so your repeats can be as bright and shiny as you want them to be. Perfect for looping, clean echoes, bright flanging, and all sorts of pristine sounds.

PhaserDDL incorporates a digital delay with a 4/6/12 stage phase shifter on the outputs. The phase shifters are in the feedback loops, which results in psychedelic echoes with long delays. Turn the delay time and delay feedback down to zero, and PhaserDDL is a great stand-alone phaser. The Age knob is swapped out for a Res knob, to control the phase resonance.

A digital delay that combines lush detuned chorusing with smooth pitch shifting. The PitchMix knob controls the amount of detuned delayed signal versus pitch shifted signal. Great for echos with harmonic overtones, lush shimmer reverbs, detuned delays, crazy repeating pitch patterns, thick chorusing, and all sorts of sounds ranging from subtle to bombastic.

The STYLE control is one of the most powerful features of Valhalla Delay. It controls the relationship between the left and right delay channels, and the number of delay voices in each channel. The STYLE control also affects the visibility of other controls in the Valhalla Delay GUI, so only the relevant controls are exposed for any given style. You can find the STYLE control in the lower left portion of the GUI.

Separate delay controls for left and right channels, called DELAY L and DELAY R. Each channel feeds back on itself, so there is no cross feedback. The modulation waveform is different between the left and right channels. The Dual Style is essentially two delays in parallel.

Age controls the noise level, as well as the depth of the tape splice artifacts. It gives you the ability to get clean and shiny, warped and dusty, or anywhere in between. Want a clean delay? Turn Age down to 0%. Want some cruft in there? Crank up that Age knob.

With Diffusion, any delay Mode can be transformed into a smeared delay, or a massive reverb. It can be used to smooth out the attacks of delays or as an amazingly smooth and lush reverb in its own right. Two controls: Amount and Size. Amount controls the coefficients of the diffusors. The larger the coefficient, the longer the decay of the diffusors, and the shorter the attack. Size controls the length of the diffusion network, as a percentage of the delay length for each channel. No on/off switch. Hardwired modulation depth. DENSE diffusion. HUGE size with up to 20 seconds of diffusion time possible.

A 1-knob ducking control in BBDuck/Clarity/DuckTape/PitchDuck/LoFi modes. Gives echo level track the input signal volume without threshold/attack/release controls. Just turn up the ducking knob to introduce feedback and output ducking that "just works."

At Soundtoys we are more than a little obsessed with delay effects, and EchoBoy is the ultimate realization of that obsession. It wraps decades of echo device history and new forward-thinking features into one versatile effect that will find its way into every corner of your mixes.

You can add taps to the Rhythm Editor graph, control their timing and sculpt their loudness curve using the Shape control. Rhythm Echo mode is a unique take on delay effects that might just become your new secret weapon in the studio.

Seven iconic analog echo emulations in one easy-to-use plug-in. Get the same warm studio tape sound for vocals, gritty vintage hardware echo models, and new classics straight from EchoBoy. Learn More.

Tape delay - the one that started it all, a tape delay works by printing the dry signal onto a piece of tape before delaying a certain amount of time and playing it back. In the process of printing, the audio becomes warmer and smoother sounding, an effect which, to this day, musicians and producers still love the sound of. Keeping and maintaining tape delay units, however, is notoriously difficult and expensive, hence why most musicians tend to use plugins.

Analogue delay - coming into the limelight due to the aforementioned issues with tape delay maintenance, the analogue delay also uses moving parts, such as magnetic drums or discs, but has capacitors to store and move the signal. Due to the way they work, you get a treble loss on each repeat of your delay, which results in a warm and dark delay tone that sits well in the mix.

Both reverb and delay are time-based effects, and a lot of their uses cross over with one another for that reason. The main difference between the two is that reverb creates a sense of physical space, whereas delay takes your original signal and plays it back to you.

That said, some delays can give you reverb-type sounds, and some reverbs are short enough that they could be considered a slapback delay. But for the most part, the two effects can be utilised with one another to help bring a sense of space and life to your mixing.

There are so many ways you can use delay and each mix will offer a different level of potential for the use of the effect. But there are a few timeless ways of using delay that will enhance your tracks.

A lot of producers make the mistake of adding too much reverb to their tracks. If you find yourself adding reverb and muddying up the sound, try a delay instead. Delays can add a sense of space without hanging around for too long, resulting in a snappier feel to your track.

Using delays on drums or other percussive elements can really help with adding movement to your tracks. Many delay plugins offer a way to sync to the tempo of your DAW, meaning the delays bounce along with the music, creating entirely new elements of groove to turn that stock hi-hat sample into something completely unique.

Delay plugins can handle myriad production tasks for the creative music maker, too. You can use them to enhance the depth and dimension of your tracks, add warmth and make things sit better in the context of the mix. Alternatively, you can launch said tracks into another cosmos with wild, infinitely repeating swells of noise that can overwhelm even the most flagrant noise hound.

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