The Delay Thread


I didn’t see anyone mention the 4ms Tapographic delay - I have this one in my rack as a main delay unit. What I like about it is that it is rhythmic, the taps can be entered by hand, quantized, or fed from a trigger (like Trigger Riot or Marbles), which makes it very musical in my experience. The morphing and stretching is not my favorite, I miss the ability to do quick glitchy changes without pitch shift. But I love the stereo sound field, with random panning possible, and it can send gates from the active tap pattern, which leads to some fun cross-patching.

I had the Rainmaker for about a month. It’s just to big and too menu-driven for my taste. Yes, it has a lot of controls, and there’s limited “menu diving”. But more often than not, I find myself glaring at a tiny screen, trying to figure out how to toggle between delay and comb levels, or wondering what happened to the routing, am I in tap edit mode or menu mode, etc.

I’m considering a 4ms DLD, because I love the idea of sends and returns and cross-patching things. Maybe two Chronoblobs would do the trick as well, but they seem to be hard to acquire right now…

I used to have a space echo. I gave it away in the late nineties, because I though I would always be doing software effects. Many years and many eurorack modules later… :


I use the boss rps-10 a lot, weird half-rackmount unit with delay, reverse delay, pitch shifting, reverse pitchshifting delay ! And also a very odd and interestingly glitchy ‘keyboard control’ input which is supposed to pitch-track a sine wave


The RPS-10 is a cousin of the PS-2, I think. A bit more full-featured but definitely same DNA :slight_smile:.


After reading this thread I found a Roland SDE 2000 for sale and I’ve snapped it up (it even has a delay multiplier button, hold feature, and modulation control by CV :star_struck:).

I love vintage digital delays (especially the ones that don’t cost an arm and a leg). All the analogue circuitry designed to counter the limitations of early digital delay lines gives them a really warm sound :heart:


I adore my original Pittsburgh Analog Delay. It’s a little funky, but the BBD chips get really dirty and chirp nicely if you feed it clever modulations!


Bob Clearmountain used to use these when almost all the other ‘top’ guys used Lexicon.


Primetime is the coolest digital delay IMO. See here:


The coolest delay I’ve used is the DUB DELAY model inside Korg’s Kaoss Pad 3. Scribbling on the touch-interface to time-&-pitch wreck repeats rules. It is very dub and summons a duppy.


sorry m8 never used it with midi but these strange artefacts sound cool…i like that it has some strangeness in there.


Love a bit of Lanois!

His pedal steel album ‘goodbye to language’ also has primetime and delay treatments all over it.

Well worth checking out if you’ve not heard it.


In euro I use a DLD. Pretty common choice I guess, but I think it’s an amazing module. I really like stacking ambient loops by manually tweaking the delay feed knobs with feedback at 100%. Super cool.

In my old band I always leaned on DD20s. At one point I had two of them cascaded so I could get better swells. Funny enough, I made three presets for my original DD20 in 2007 and never updated them. I guess I nailed the setting?


I like that a lot. Between your example and this robotopsy video I’m getting pretty interested in Tyme Sefari. Would you say that Sound of Thunder is a crucial add-on?


I was of two minds about A Sound Of Thunder at first. Some of the features are really situational. But the more I use it, the more I appreciate it.

Stereo is especially useful. While the output for the second channel is wet-only, that’s still fine for sampling, use as a second tap, or if you do mid/side processing (or some combination of those).


the DLD was my favorite delay i ever had racked. kinda miss it sometimes but i am too much of a time stretch junkie…

i picked up a BIM recently to try because the quality of OTO stuff is so amazing. still exploring it but one thing that i am running into that kinda bums me out is how extreme the volume increase is when you turn the mix up. does anyone else experience this? as far as i’m aware there isn’t a setting to change that. i can’t turn the mix up much past 25% or else the volume change will totally throw off the whole vibe of my track.

update: just figured out this is related to line level input gain. when input gain is at 0 and VU meter is active it seems like the signal is very weak, but when you turn the input gain up it quickly starts to really drive the signal resulting in mix to overdrive and bring up the volume (there is also a compressor built into the circuit). BAM behaves similarly i just never really noticed it because i don’t touch the gain. i stopped looking at the meters and started just listening. if you want it clean just keep those gains all the way turned down. sounds incred


forgive my necro-ing this thread, but would anyone have suggestions for a rack delay? specifically one that can do stereo (ping-pong I guess one cold say) delay as well as a max delay time longer than let’s say 500ms.

when I work with crappy sounding mono tracks (ususally sourced from tape machines), I’ll use the stereo delay effect in my daw to widen the stereo field a bit. looking to get some hardware to take over!


Those old Yamaha units might do the trick - SPX90 for example.


Also Alesis Midiverb 2 could be something.
Although it is just below 500ms (but so is the Yamaha).


This or something like the Alesis Wedge (desktop unit similar to Quadraverb)…


I am super curious about the Roland Demora and wish there were more demos of it out there. With the virtual modules it seems like it would be the perfect way to handle feedback loops, introducing noise and degradation into the echos, without having to use up other modules. I haven’t been able to find any examples of people creating such patches with it, though. Has anyone here experimented with that?


The Wedge is great, highly underrated.