7

Chapter 7 Delay 95
You can shape the sound of the echoes, using the on-board highpass and lowpass
filters. Although these filters are fairly flat, they’re not located post-output. They are
located in the feedback circuit, meaning that the effect achieved by these filters
increases in intensity with each repeat. If you’re in the mood for an increasingly muddy
tone, move the High Cut filter slider towards the left. For ever thinner echoes, move the
Low Cut filter slider towards the right.
The Mix slider determines the balance between the original (dry) signal and effects
(wet) signals. If you’ve inserted the Tape Delay in an individual track, you’ll generally
find that settings of up to 50% are desirable. If the Tape Delay is patched to the insert
of a Bus channel, and you’re routing the signals of a track to the plug-in with the Send
controls, you should set the Mix slider to 100%, and leave it there.
If you’re unable to hear the effect, even though you’ve set up a suitable configuration,
be sure to check out not only the Mix knob, but also the filter settings: Move the High
Cut filter slider to the far right, and the Low Cut filter slider to the far left.
The Tape Delay includes an LFO for delay time modulation. Use it to produce very
pleasant and special chorus effects, even on long delays. The LFO produces a triangular
wave, with adjustable speed and modulation intensity, that can be evened out with the
Smooth parameter. This also smoothes the Flutter. Flutter simulates the irregularities of
tape transport speeds used in analog tape delay units, and is also adjustable in speed
and intensity.
There are three further parameters in the Tape Delay’s Controls view. The Dry and Wet
sliders can be used to control the original and effect signal amounts individually,
independently of the Mix parameter. Distortion Level can lower the distorted signal
(tape saturation) level by up to 20 dB.