You can open a filter while panning a delay across its eight channels, or ping pong a stereo delay back down into mono. You can modulate any one of the single delays up to three octaves in either direction, opening the possibility for some pretty wild echo effects. If you already own a UAD system, you owe it to yourself to at least give this one a try.Įach band has its own “filter shape” selection with modulation controls. It sounds great, and has fantastically fun usability to boot. It is simultaneously an authentic recreation of the Roland RE-201 and one highly versatile plugin, especially for saturated delay effects. Instead, those filters are replaced by a subtle breakup that reacts differently depending on where the delay is at.įor the money, you’re getting quite a lot here. It sounds a bit like the PSP 85 sample, minus the unique filters. Even so, that price is surely worth it if you have the money to spend.Īs you’ll hear in my sample clip at the end, I went for a dream-like echo, one that moves and responds to the track throughout the stereo space. It’s a true recreation of the RE-201-and one that will cost you a bit of extra money over the Softube. The different tape models and tape head positions lead to wildly different sounds, with an extra reverb on the backend for unique sounds. Unlike Tube Delay, this is more like a toolbox for dirty delays. You can easily throw the plugin up and dial in a clean delay with subtle tube distortion or go directly into madness with massive amounts of overdrive and a pinned feedback knob. It’s dirty, yes, but still has a surprising amount of range. Softube’s Tube Delay is a simple, cheap plugin that manages to achieve both excellent quality and usability. Using a long feedback with the treble automation can create a truly insane effect. The delays stack on top of each other, driving not only the delay, but the distortion further and further into chaos as well. Outside of that, the plugin is fairly straightforward, with just one other unique feature: The feedback knob allows you to get a very convincing dub echo sound. In either case, automating that treble control can create a really sweet sweep effect. This issue is easily alleviated by routing your vocal through a bus with the plugin, like many engineers will do, but it is still something that should be noted if you often strap your delays across individual tracks. Roll off some treble and, sure enough, your direct vocal sound will have less top-end as well. Unfortunately, these EQ controls impact the overall sound, not just the delayed signal. On the backend, you have controls for bass and treble. It provides either a 10ms or 20ms difference in the delay between left and right for a wider stereo field. The “Spread” switch on the bottom is bit unique, however. The rest of the unit is fairly typical delay fodder in most instances: You have timing, tap tempo, low and high pass filters, mix, panning, and feedback controls. This color control is assuredly the most unique feature of Repeater, so pay some mind to it when you’re experimenting. Depending on the model, this color can manifest as a telephone effect, pitch shifting, or just some simple tape tone. In the D16, you have 23 different delay models to sample from, which you can tweak using the “color” knob. But it does have some features that are all its own. It’s a still a stellar workhorse, certainly-just not quite on the level of Echoboy. While this highly versatile delay has enough knobs and buttons to look the part, some of the deep customization options of Echoboy aren’t present, earning it the number 2 slot in this category.
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