Work­ing with mul­ti­tap de­lays

Th­ese pro­ces­sors al­low you to time your de­lay echoes to a grid, craft­ing and se­quenc­ing the per­fect pat­tern for ev­ery oc­ca­sion. Here’s how to get to grips with th­ese very vis­ual de­lay ef­fects…

Future Music - - FEATURE -

In the dig­i­tal world, al­most any­thing is pos­si­ble, and keen-eyed soft­ware de­vel­op­ers have man­aged to har­ness this idea and re­think the con­cept of what a de­lay pro­ces­sor should be. Just as you map out your mu­sic vis­ually in the pi­ano roll, with mul­ti­tap de­lays you can do the same thing for in­di­vid­ual echoes (or ‘taps’) for the de­layed sig­nal. It’s time to get a grip on the power be­hind mul­ti­taps, draw­ing, spik­ing and ‘se­quenc­ing’ your own de­lay pat­terns to taste, for ev­ery track-build­ing sce­nario.

In a mul­ti­tap de­lay like this, we have far more con­trol over the pat­tern of re­peats the pro­ces­sor out­puts. With this way of work­ing, the de­lay al­most be­comes a se­quencer, al­beit a se­quencer that re­peats the orig­i­nal au­dio in the pat­tern that you’ve se­lected!

When we put EchoBoy into its trade­mark Rhythm Echo mode, we get a graph­i­cal dis­play that lets us pro­gram a num­ber of ‘taps’ (there are four in the setup shown), and de­ter­mine the strength for each by set­ting its height on the grid.

The bog-stan­dard, ‘nor­mal’ de­lay pro­ces­sor that we’re most likely to en­counter uses a de­lay time to de­ter­mine how of­ten it re­peats, and feed­back to de­ter­mine how many times. Here’s Sound­toys’ EchoBoy in its ‘Sin­gle Echo’ mode. Sim­ple stuff.

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