Monkey Man
Super Moderator
Apparently they're everything that was hoped for and more.
https://www.kemper-amps.com/downloads/7 ... 20Versions
Update Addendum PDF:
https://www.kemper-amps.com/downloads/5/User-Manuals
Description:
New Delays
Without doubt, the Delay effect types are some of the most advanced and comprehensive effects collections in the Profiler. However, the approach we have taken might be a bit different from what you've seen before. You will not find a dedicated Reverse Delay, Tape Delay or Ducking Delay, as we realized there is no sense in splitting such crucial features into separate delay types. Instead, we have equipped every single delay type with most of these features. Why not have a Dual Reverse Delay? Or a Serial Delay with analog tape character? Or a Melody Delay with ducking? All of these are possible with the delays in the Profiler, from OS 5.0 and up.
The character of the tape delay can be continuously controlled by two crucial parameters: Low Cut and High Cut. As well as these, two controls for adjusting wow and flutter are available in every single delay type. Many of the delays also feature a Grit control to add typical tape saturation and distortion to the delay signal. With less intensity of these controls, the delays will move toward the flavor of an analog bucket-brigade delay or a modern digital delay. The reverse delay signal is always available in addition to the regular delay signal, and both can be mixed to your liking.
A number of delay types feature the parameters "Swell", "Smear" and "Cross Feedback". Each of these parameters will make the delay sound smoother, and can turn a rhythmical delay into a more ambient, or reverb-like, effect. Together, they work even better!
The result of all this is that every delay type features many parameters; but don't worry - they are very easy to handle: except for wow and flutter, they all consist of a single control for each. If you bring the control to zero, the feature will be inactive, and out of the way.
The delays can be placed in the DLY Module on the right hand side of the panel, or in any of the Stomp and Effect Modules. This allows multiple delay effects to coexist, or to be switched within the same Rig.
Parameters
Delay Mix
Controls the level of the delay signal. At the middle position, the delay is as loud as the direct signal; beyond this
point it will start to attenuate the dry signal. With “Mix” turned all the way to the right, you will hear only the pure, delayed signal.
Delay Mix is accessible via the row of knobs in the upper half of the panel, as long as the effect is placed in the DLY Module.
Mix Location Pre/Post
Determines whether the Mix control is positioned at the input (Pre) or the output (Post) of the delay. This option does not change the signal immediately, but it is relevant when the Mix control is morphed by a switch or pedal.
In the "Post" position, a change of the Mix control changes the output level of the delay, and thus will have an immediate impact to the delay tail when modified.
In the "Pre" position, the delay tail will be unaffected by fast changes to Mix, which will control only the delay input level.
Mix Location is also relevant if you use the Grit parameter or the Infinity Feedback, as we'll see further below.
Low Cut & High Cut
These two controls determine changes to the frequency response of progressive delay repeats. When Low Cut is set to minimum, and High Cut to maximum, then the delay will not undergo any sound degradation.
As you reduce High Cut from its maximum position, the high frequencies will attenuate with every delay repetition, creating a warm, lush sound.
As you increase Low Cut from its minimum position, the low frequencies will attenuate with every delay repetition, resulting in a thin, brittle sound. In the lowest quarter of its range the Low Cut controls the resonance character of the High Cut.
Both controls can be combined to simulate the sound degradation of a tape delay or analog delay:
Set High Cut to a desired value, e.g. 2000 Hz. Now, gradually increase Low Cut from its minimum position. You will notice a flavor and "peakiness" typical of a tape delay, even at low values of Low Cut. The closer you set Low Cut to the value of the High Cut, the more the sound will change toward a bandpass sound. Internally, the Low Cut frequency will never exceed the High Cut frequency.
Cut More
You might find that the sound degradation of Low Cut and High Cut is not drastic enough, or that the build-up of the degradation is too slow at long delay times. In this case, press the "Cut More" soft button to double the impact of Low Cut and High Cut.
To Tempo
The delay times can be set either as absolute values (milliseconds) or as Note Values, where the absolute times
depend on the current Tempo. Use the soft button labelled "To Tempo" to switch between those two approaches.
Delay Time & Delay Ratio
If To Tempo is not engaged, then Delay Time controls the absolute delay time in milliseconds. The maximum delay time is 2000 ms. As you dial through the delay times, you will notice the change in pitch, typical of tape-speed changes in a tape delay.
In several delay types, you will also find a setting to control Delay Ratio. This knob sets the time (in percentage) of the respective delay taps relative to the sole Delay Time found in this delay type. Thus, when the Delay Time is changed, all the dependent delay taps will change their times as well, according to this ratio. This means that if you change the pattern length using the sole Delay Time parameter, the rhythm pattern created by the multiple taps is always maintained.
Note Value
If you activate the To Tempo option, then the controls for Delay Time or Delay Ratio change their identifiers to Note
Value. Now, the delay times are set in note values, and will therefore depend on the actual tempo.
The tempo can either be tapped with the TAP button or automatically determined using the Beat Scanner, when you press and hold the TAP button instead. Please learn more about the tempo capabilities in the chapter Tempo of the Reference Manual.
When you change Note Values, the transition to the new values will happen seamlessly without pitch changes or other side-effects.
Feedback
The Feedback parameter determines the amount of delayed signal that is thrown back to the input of the delay, resulting in an "echo of the echo". When Feedback is at zero, there will only be one audible repeat. As you increase the Feedback, the number of repeats increases until, at “100%” (center position), the delayed signal will continue to
repeat indefinitely.
Delay Feedback can be controlled with the dedicated knob in the upper half of the panel, so long as the effect is placed in the DLY Module.
Above the Feedback soft knob you will find the Hold button and, on several delay types, an Infinity button. Both buttons are so-called "Action & Hold" functions. These can be assigned to the Effect Buttons of the Profiler Remote for performance applications. To assign them, hold the desired Effect Button on the Remote with your foot, while you press the respective soft button above the display on your Profiler. To undo the assignment, repeat the same action.
Hold
"Hold" is an Action & Hold function, which turns the delay into an endless loop. The delay track will be repeated without losing or gaining level, and without sound degradation. The input of the delay is cut, so no further signal is added to the delay, allowing you to play along to the loop.
Infinity
When you activate "Infinity", another Action & Hold function, Feedback will be switched from the regular value (between 0 and 100%) to the Infinity feedback value that spans from 100% to 200% and is separately controllable. This feedback lets the delay repeats build up instead of decaying, pushing them deeper into tape saturation, where they will repeat indefinitely, as the sound degrades over time. To ensure a pleasing, lush result, you should adjust the sound of the tape saturation with the High Cut and Low Cut parameters. Set Mix Location to "Post" if you wish to control the signal level of the saturated delay by the Mix control.
In contrast to the Hold function, Infinity Feedback still lets you add more signal to the delay, creating intermodulation with the repeated signal.
The Hold and Infinity buttons can both be assigned to one of the Effects Buttons of the Profiler Remote. Step and hold the desired Effects Button (I to IIII) while you press the "Hold" button or the "Infinity" Button.
Both the Hold and Infinity buttons can also be assigned to a foot switch that you plug into one of the pedal inputs of your Profiler or Remote.
Cross Feedback
A small number of delay types - namely the Dual Delay and the Quad Delays - feature a "Cross Feedback" control. Increasing the value beyond zero causes each delay to not only feed its output signal back to its own input, but also to the other participating delay lines. This creates a more diffuse delay rhythm pattern, adding a reverb-like character to the delay. To ensure the perceived overall feedback will stay the same, Cross Feedback will automatically reduce the regular feedback. For this reason, Cross Feedback only works when the regular Feedback is set to a reasonable amount. To achieve the smoothest diffusion, set the delay times to odd ratios. In contrast, 1:1 or 2:1 ratios will only have a mediocre effect on the Cross Feedback.
Reverse Mix
When set fully to the right, the delay is turned into a reverse delay. With intermediate values, you will get a mixture of
the forward and reverse delay, which is quite unique.
Swell
The Swell parameter engages an auto-swell effect at the input of the delay that lets the volume rise slowly with every new strike of the strings. At low values, only the pick attack is dampened, creating a smoother delay signal. With larger values, the onset of the notes is blurred, creating a pad-like delay.
Smear
The Smear parameter adds a small reverberation unit to the delay, the intensity of which strengthens with every feedback repetition. Pick attacks become increasingly diffused, or smeared, giving the delay a reverb-like quality. In combination, Swell and Smear are a perfect recipe for ambient and ethereal delays.
Stereo
This is similar to the bipolar Stereo parameter included in many effects of the Profiler. In the delays, this parameter
controls the stereo spread of all delay taps.
However, it introduces a novel "super-stereo" effect that lets the delay reflections appear well outside the regular stereo image. This effect works best if you are well positioned in the correct stereo triangle of your speakers. To get the most prominent effect, set the delay taps to different delay times. The super stereo effect does not work with headphones.
At 100% the delay taps are fully panned to left and right.
At 0% all delay taps are panned to the middle position, resulting in a mono signal.
At -100% the delays are fully panned, but the sides get reversed.
When you move the Stereo knob beyond the +/-100% setting, the super-stereo effect comes into place, reaching its
maximum impact at +/-200%.
As with all other effects, the Stereo parameter is not available when the Effect is placed in the Stomps section, because the Stomps section is strictly mono.
Grit
The Grit parameter adds a typical tape distortion to the delay signal. At lower values, the tape bias is reduced, creating a brittle sound. At higher values, the signal becomes noticeably compressed by the limited headroom of the tape. In the upper quarter of the Grit control, the input level is boosted to push the distortion even more. You can further control and tame the sound of the distortion by using the High Cut and Low Cut parameters. Use the "Cut More" switch to cut the edges of the sound further.
As with every distortion, the amount of Grit in the delay is dependent of the input level. As a consequence, Grit is sensitive to the "Mix Location" parameter. When Mix Location is set to "Pre", the distortion is lowered by lowering the Delay Mix control. For this reason, you might prefer setting it to "Post", as this will not change the amount of Grit when changing the delay mix.
Stereo Modulation
Induces a delay time modulation to create a lush and chorus-like sound. The delay taps are modulated in different
phases to produce a wide stereo image similar to the Air Chorus, even when the delay times are set to equal values.
If you want to create a delay modulation, without creating a stereo effect, use the Flutter parameters instead.
Flutter Intensity & Flutter Shape
These parameters control the typical wow & flutter effect of a tape delay. The speed of the tape passing the recording head, and playback head, of a tape delay varies randomly due to several mechanical reasons such as tape wearing. This results in both slow and fast pitch deviations of the delayed signal. Flutter Rate varies the overall speed of these random deviations. Lower values produce more "wow", while higher values pronounce the "flutter". Use the Flutter Intensity to adjust the strength of the deviations to your liking.
The Delay Types
Single Delay
The Single Delay consists of one delay line, with one delay time setting only. This makes the Single Delay ideally suited to the mono Stomp section in front of the amp. However, you can still place it after the amp and achieve a decent stereo effect by increasing the Stereo parameter. This stereo effect is created by phase shifts, but is fully mono compatible. This means the effect disappears naturally, without side effects, when the signal is mixed down to mono at playback.
Dual Delay
The Dual Delay features two fully independent delays - one for each stereo side - with independent feedback controls. Both feedbacks can be sync'ed with the Feedback Sync button, so that both are controlled by the Feedback1 control only. The sync'ed feedbacks don't just have the same feedback level, but are automatically adjusted depending on the respective delay times, such that both delays will decay by the same time, to preserve the stereo image. Use the Cross Feedback parameter to increase the density of the delay reflections.
Two Tap Delay
The Two Tap Delay is based on a single delay, but with two signal taps for the left and right sides. This allows for dedicated ping-pong delay patterns, that are quite different to those of the Dual Delay, for example.
When the "To Tempo" button is activated, you can set the delay time of the left and right delay taps individually, in musical values. Setting both taps to the same value will produce a mono delay, while different values will create a ping-pong effect. Only the left delay will feed its signal back to the delay input, which means the length of the left delay will define the overall pattern length. When you set the length of the right tap to half that of the left, for instance, you will create a classic ping-pong delay. However, swapping the values will not only result in a swap of the stereo sides, but also in a different delay pattern. You can choose note values from arbitrary multiples of 16th notes, up to one bar (whole note). This also includes odd values such as 5/16 or 7/16, that are definitely worth trying. To create more complex and interesting rhythm patterns, try using a mix of odd and even values.
When To Tempo is not activated, the left delay time is set in milliseconds, while the right delay time (Ratio) is set as a percentage of the left delay time.
Serial Two Tap Delay
The Serial Delay is a Two Tap Delay with an additional delay placed in front. This additional delay features separate "Mix Serial" and "Feedback Serial" controls, as well as a third delay time setting. The delay time appears as “Note Val. Serial”, when To Tempo is activated, or as "Delay Ratio Serial" (as a percentage of Delay 1 Time), when To Tempo is deactivated.
As an alternative to the Serial Delay, you can place any two delays into two adjacent Effect Modules.
Rhythm Delay
The Rhythm Delay is quite a beast. It allows you to arrange up to four delay taps to create a rhythmic sequence. Each delay tap can be set individually by time, volume and panorama position. The sound degradation from the high pass and low pass filters increases from tap to tap, giving the delay a natural delay flavor, even within a pattern.
When you set Feedback to above zero, the whole delay pattern is repeated. The repetition time (and thus pattern length) is defined by the time of the fourth delay tap (Delay 4). For that reason, the fourth delay tap is always the first tap of the next repetition.
When To Tempo is activated, the time of each tap is adjusted independently in multiples of 16th notes. When To Tempo is not enabled, then Delay 4 Time is set in absolute milliseconds, again defining the pattern length or repetition time. Delays 1, 2 and 3 have Ratio settings as a percentage of the milliseconds of Delay 4 Time. Thus, if you change the setting of Delay 4 Time, then all four delay times are changed accordingly, while maintaining their ratio. This way, the rhythm pattern stays intact, but changes tempo.
Quad Delay
The Quad Delay features four delay lines in parallel. The parameter set looks similar to the Rhythm Delay, but the structure is completely different. The four delays share a common Feedback control, as well as a common Cross Feedback. When Cross Feedback is set to zero, all four delays will feedback individually. When Cross Feedback is set to 100%, each delay will feed its signal back to all four delays at the same time, creating a diffuse and reverberant effect.
Legacy Delay
The Legacy Delay is based on the first delay algorithm made for the Profiler. The main purpose is to maintain full backward compatibility to rigs that have been created before the advent of Profiler operating system 5.0. The architecture of the Legacy Delay is similar to that of the Two Tap Delay. However, it features a bandpass filter with the parameters Center Frequency and Bandwidth - in contrast to all other delays that utilize the more intuitive low cut and high cut filter. If you are going for deeper edits of an already existing Legacy Delay, we recommend changing the type to Two Tap, or any other type, by using the TYPE knob. This way, you will benefit from their improved parameter set.
If you are going to build a new delay from scratch, you should avoid the Legacy Delay for the same reasons.
https://www.kemper-amps.com/downloads/7 ... 20Versions
Update Addendum PDF:
https://www.kemper-amps.com/downloads/5/User-Manuals
Description:
New Delays
Without doubt, the Delay effect types are some of the most advanced and comprehensive effects collections in the Profiler. However, the approach we have taken might be a bit different from what you've seen before. You will not find a dedicated Reverse Delay, Tape Delay or Ducking Delay, as we realized there is no sense in splitting such crucial features into separate delay types. Instead, we have equipped every single delay type with most of these features. Why not have a Dual Reverse Delay? Or a Serial Delay with analog tape character? Or a Melody Delay with ducking? All of these are possible with the delays in the Profiler, from OS 5.0 and up.
The character of the tape delay can be continuously controlled by two crucial parameters: Low Cut and High Cut. As well as these, two controls for adjusting wow and flutter are available in every single delay type. Many of the delays also feature a Grit control to add typical tape saturation and distortion to the delay signal. With less intensity of these controls, the delays will move toward the flavor of an analog bucket-brigade delay or a modern digital delay. The reverse delay signal is always available in addition to the regular delay signal, and both can be mixed to your liking.
A number of delay types feature the parameters "Swell", "Smear" and "Cross Feedback". Each of these parameters will make the delay sound smoother, and can turn a rhythmical delay into a more ambient, or reverb-like, effect. Together, they work even better!
The result of all this is that every delay type features many parameters; but don't worry - they are very easy to handle: except for wow and flutter, they all consist of a single control for each. If you bring the control to zero, the feature will be inactive, and out of the way.
The delays can be placed in the DLY Module on the right hand side of the panel, or in any of the Stomp and Effect Modules. This allows multiple delay effects to coexist, or to be switched within the same Rig.
Parameters
Delay Mix
Controls the level of the delay signal. At the middle position, the delay is as loud as the direct signal; beyond this
point it will start to attenuate the dry signal. With “Mix” turned all the way to the right, you will hear only the pure, delayed signal.
Delay Mix is accessible via the row of knobs in the upper half of the panel, as long as the effect is placed in the DLY Module.
Mix Location Pre/Post
Determines whether the Mix control is positioned at the input (Pre) or the output (Post) of the delay. This option does not change the signal immediately, but it is relevant when the Mix control is morphed by a switch or pedal.
In the "Post" position, a change of the Mix control changes the output level of the delay, and thus will have an immediate impact to the delay tail when modified.
In the "Pre" position, the delay tail will be unaffected by fast changes to Mix, which will control only the delay input level.
Mix Location is also relevant if you use the Grit parameter or the Infinity Feedback, as we'll see further below.
Low Cut & High Cut
These two controls determine changes to the frequency response of progressive delay repeats. When Low Cut is set to minimum, and High Cut to maximum, then the delay will not undergo any sound degradation.
As you reduce High Cut from its maximum position, the high frequencies will attenuate with every delay repetition, creating a warm, lush sound.
As you increase Low Cut from its minimum position, the low frequencies will attenuate with every delay repetition, resulting in a thin, brittle sound. In the lowest quarter of its range the Low Cut controls the resonance character of the High Cut.
Both controls can be combined to simulate the sound degradation of a tape delay or analog delay:
Set High Cut to a desired value, e.g. 2000 Hz. Now, gradually increase Low Cut from its minimum position. You will notice a flavor and "peakiness" typical of a tape delay, even at low values of Low Cut. The closer you set Low Cut to the value of the High Cut, the more the sound will change toward a bandpass sound. Internally, the Low Cut frequency will never exceed the High Cut frequency.
Cut More
You might find that the sound degradation of Low Cut and High Cut is not drastic enough, or that the build-up of the degradation is too slow at long delay times. In this case, press the "Cut More" soft button to double the impact of Low Cut and High Cut.
To Tempo
The delay times can be set either as absolute values (milliseconds) or as Note Values, where the absolute times
depend on the current Tempo. Use the soft button labelled "To Tempo" to switch between those two approaches.
Delay Time & Delay Ratio
If To Tempo is not engaged, then Delay Time controls the absolute delay time in milliseconds. The maximum delay time is 2000 ms. As you dial through the delay times, you will notice the change in pitch, typical of tape-speed changes in a tape delay.
In several delay types, you will also find a setting to control Delay Ratio. This knob sets the time (in percentage) of the respective delay taps relative to the sole Delay Time found in this delay type. Thus, when the Delay Time is changed, all the dependent delay taps will change their times as well, according to this ratio. This means that if you change the pattern length using the sole Delay Time parameter, the rhythm pattern created by the multiple taps is always maintained.
Note Value
If you activate the To Tempo option, then the controls for Delay Time or Delay Ratio change their identifiers to Note
Value. Now, the delay times are set in note values, and will therefore depend on the actual tempo.
The tempo can either be tapped with the TAP button or automatically determined using the Beat Scanner, when you press and hold the TAP button instead. Please learn more about the tempo capabilities in the chapter Tempo of the Reference Manual.
When you change Note Values, the transition to the new values will happen seamlessly without pitch changes or other side-effects.
Feedback
The Feedback parameter determines the amount of delayed signal that is thrown back to the input of the delay, resulting in an "echo of the echo". When Feedback is at zero, there will only be one audible repeat. As you increase the Feedback, the number of repeats increases until, at “100%” (center position), the delayed signal will continue to
repeat indefinitely.
Delay Feedback can be controlled with the dedicated knob in the upper half of the panel, so long as the effect is placed in the DLY Module.
Above the Feedback soft knob you will find the Hold button and, on several delay types, an Infinity button. Both buttons are so-called "Action & Hold" functions. These can be assigned to the Effect Buttons of the Profiler Remote for performance applications. To assign them, hold the desired Effect Button on the Remote with your foot, while you press the respective soft button above the display on your Profiler. To undo the assignment, repeat the same action.
Hold
"Hold" is an Action & Hold function, which turns the delay into an endless loop. The delay track will be repeated without losing or gaining level, and without sound degradation. The input of the delay is cut, so no further signal is added to the delay, allowing you to play along to the loop.
Infinity
When you activate "Infinity", another Action & Hold function, Feedback will be switched from the regular value (between 0 and 100%) to the Infinity feedback value that spans from 100% to 200% and is separately controllable. This feedback lets the delay repeats build up instead of decaying, pushing them deeper into tape saturation, where they will repeat indefinitely, as the sound degrades over time. To ensure a pleasing, lush result, you should adjust the sound of the tape saturation with the High Cut and Low Cut parameters. Set Mix Location to "Post" if you wish to control the signal level of the saturated delay by the Mix control.
In contrast to the Hold function, Infinity Feedback still lets you add more signal to the delay, creating intermodulation with the repeated signal.
The Hold and Infinity buttons can both be assigned to one of the Effects Buttons of the Profiler Remote. Step and hold the desired Effects Button (I to IIII) while you press the "Hold" button or the "Infinity" Button.
Both the Hold and Infinity buttons can also be assigned to a foot switch that you plug into one of the pedal inputs of your Profiler or Remote.
Cross Feedback
A small number of delay types - namely the Dual Delay and the Quad Delays - feature a "Cross Feedback" control. Increasing the value beyond zero causes each delay to not only feed its output signal back to its own input, but also to the other participating delay lines. This creates a more diffuse delay rhythm pattern, adding a reverb-like character to the delay. To ensure the perceived overall feedback will stay the same, Cross Feedback will automatically reduce the regular feedback. For this reason, Cross Feedback only works when the regular Feedback is set to a reasonable amount. To achieve the smoothest diffusion, set the delay times to odd ratios. In contrast, 1:1 or 2:1 ratios will only have a mediocre effect on the Cross Feedback.
Reverse Mix
When set fully to the right, the delay is turned into a reverse delay. With intermediate values, you will get a mixture of
the forward and reverse delay, which is quite unique.
Swell
The Swell parameter engages an auto-swell effect at the input of the delay that lets the volume rise slowly with every new strike of the strings. At low values, only the pick attack is dampened, creating a smoother delay signal. With larger values, the onset of the notes is blurred, creating a pad-like delay.
Smear
The Smear parameter adds a small reverberation unit to the delay, the intensity of which strengthens with every feedback repetition. Pick attacks become increasingly diffused, or smeared, giving the delay a reverb-like quality. In combination, Swell and Smear are a perfect recipe for ambient and ethereal delays.
Stereo
This is similar to the bipolar Stereo parameter included in many effects of the Profiler. In the delays, this parameter
controls the stereo spread of all delay taps.
However, it introduces a novel "super-stereo" effect that lets the delay reflections appear well outside the regular stereo image. This effect works best if you are well positioned in the correct stereo triangle of your speakers. To get the most prominent effect, set the delay taps to different delay times. The super stereo effect does not work with headphones.
At 100% the delay taps are fully panned to left and right.
At 0% all delay taps are panned to the middle position, resulting in a mono signal.
At -100% the delays are fully panned, but the sides get reversed.
When you move the Stereo knob beyond the +/-100% setting, the super-stereo effect comes into place, reaching its
maximum impact at +/-200%.
As with all other effects, the Stereo parameter is not available when the Effect is placed in the Stomps section, because the Stomps section is strictly mono.
Grit
The Grit parameter adds a typical tape distortion to the delay signal. At lower values, the tape bias is reduced, creating a brittle sound. At higher values, the signal becomes noticeably compressed by the limited headroom of the tape. In the upper quarter of the Grit control, the input level is boosted to push the distortion even more. You can further control and tame the sound of the distortion by using the High Cut and Low Cut parameters. Use the "Cut More" switch to cut the edges of the sound further.
As with every distortion, the amount of Grit in the delay is dependent of the input level. As a consequence, Grit is sensitive to the "Mix Location" parameter. When Mix Location is set to "Pre", the distortion is lowered by lowering the Delay Mix control. For this reason, you might prefer setting it to "Post", as this will not change the amount of Grit when changing the delay mix.
Stereo Modulation
Induces a delay time modulation to create a lush and chorus-like sound. The delay taps are modulated in different
phases to produce a wide stereo image similar to the Air Chorus, even when the delay times are set to equal values.
If you want to create a delay modulation, without creating a stereo effect, use the Flutter parameters instead.
Flutter Intensity & Flutter Shape
These parameters control the typical wow & flutter effect of a tape delay. The speed of the tape passing the recording head, and playback head, of a tape delay varies randomly due to several mechanical reasons such as tape wearing. This results in both slow and fast pitch deviations of the delayed signal. Flutter Rate varies the overall speed of these random deviations. Lower values produce more "wow", while higher values pronounce the "flutter". Use the Flutter Intensity to adjust the strength of the deviations to your liking.
The Delay Types
Single Delay
The Single Delay consists of one delay line, with one delay time setting only. This makes the Single Delay ideally suited to the mono Stomp section in front of the amp. However, you can still place it after the amp and achieve a decent stereo effect by increasing the Stereo parameter. This stereo effect is created by phase shifts, but is fully mono compatible. This means the effect disappears naturally, without side effects, when the signal is mixed down to mono at playback.
Dual Delay
The Dual Delay features two fully independent delays - one for each stereo side - with independent feedback controls. Both feedbacks can be sync'ed with the Feedback Sync button, so that both are controlled by the Feedback1 control only. The sync'ed feedbacks don't just have the same feedback level, but are automatically adjusted depending on the respective delay times, such that both delays will decay by the same time, to preserve the stereo image. Use the Cross Feedback parameter to increase the density of the delay reflections.
Two Tap Delay
The Two Tap Delay is based on a single delay, but with two signal taps for the left and right sides. This allows for dedicated ping-pong delay patterns, that are quite different to those of the Dual Delay, for example.
When the "To Tempo" button is activated, you can set the delay time of the left and right delay taps individually, in musical values. Setting both taps to the same value will produce a mono delay, while different values will create a ping-pong effect. Only the left delay will feed its signal back to the delay input, which means the length of the left delay will define the overall pattern length. When you set the length of the right tap to half that of the left, for instance, you will create a classic ping-pong delay. However, swapping the values will not only result in a swap of the stereo sides, but also in a different delay pattern. You can choose note values from arbitrary multiples of 16th notes, up to one bar (whole note). This also includes odd values such as 5/16 or 7/16, that are definitely worth trying. To create more complex and interesting rhythm patterns, try using a mix of odd and even values.
When To Tempo is not activated, the left delay time is set in milliseconds, while the right delay time (Ratio) is set as a percentage of the left delay time.
Serial Two Tap Delay
The Serial Delay is a Two Tap Delay with an additional delay placed in front. This additional delay features separate "Mix Serial" and "Feedback Serial" controls, as well as a third delay time setting. The delay time appears as “Note Val. Serial”, when To Tempo is activated, or as "Delay Ratio Serial" (as a percentage of Delay 1 Time), when To Tempo is deactivated.
As an alternative to the Serial Delay, you can place any two delays into two adjacent Effect Modules.
Rhythm Delay
The Rhythm Delay is quite a beast. It allows you to arrange up to four delay taps to create a rhythmic sequence. Each delay tap can be set individually by time, volume and panorama position. The sound degradation from the high pass and low pass filters increases from tap to tap, giving the delay a natural delay flavor, even within a pattern.
When you set Feedback to above zero, the whole delay pattern is repeated. The repetition time (and thus pattern length) is defined by the time of the fourth delay tap (Delay 4). For that reason, the fourth delay tap is always the first tap of the next repetition.
When To Tempo is activated, the time of each tap is adjusted independently in multiples of 16th notes. When To Tempo is not enabled, then Delay 4 Time is set in absolute milliseconds, again defining the pattern length or repetition time. Delays 1, 2 and 3 have Ratio settings as a percentage of the milliseconds of Delay 4 Time. Thus, if you change the setting of Delay 4 Time, then all four delay times are changed accordingly, while maintaining their ratio. This way, the rhythm pattern stays intact, but changes tempo.
Quad Delay
The Quad Delay features four delay lines in parallel. The parameter set looks similar to the Rhythm Delay, but the structure is completely different. The four delays share a common Feedback control, as well as a common Cross Feedback. When Cross Feedback is set to zero, all four delays will feedback individually. When Cross Feedback is set to 100%, each delay will feed its signal back to all four delays at the same time, creating a diffuse and reverberant effect.
Legacy Delay
The Legacy Delay is based on the first delay algorithm made for the Profiler. The main purpose is to maintain full backward compatibility to rigs that have been created before the advent of Profiler operating system 5.0. The architecture of the Legacy Delay is similar to that of the Two Tap Delay. However, it features a bandpass filter with the parameters Center Frequency and Bandwidth - in contrast to all other delays that utilize the more intuitive low cut and high cut filter. If you are going for deeper edits of an already existing Legacy Delay, we recommend changing the type to Two Tap, or any other type, by using the TYPE knob. This way, you will benefit from their improved parameter set.
If you are going to build a new delay from scratch, you should avoid the Legacy Delay for the same reasons.
