Reference Manual

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 305
Each of the three delays can be switched on and off independently. The Filter Delay device
assigns delay 1 to the input signal's left channel, delay 2 to the left and right channels and
delay 3 to the right channel. The Pan controls at the right can override the delay channels'
outputs; otherwise each delay outputs on the channel from which it derives its input.
Each delay channel's lter has an associated On switch, located to the left of each X-Y
controller. The X-Y controllers adjust the lowpass and highpass lters simultaneously for
each delay. To edit lter bandwidth, click and drag on the vertical axis; click and drag on
the horizontal axis to set the lter band's frequency.
To refer delay time to the song tempo, activate the Sync switch, which allows using the Delay
Time beat division chooser. The numbered switches represent time delay in 16th notes. For
example, selecting 4 delays the signal by four 16th notes, which equals one beat (a quarter
note) of delay. With Sync Mode active, changing the Delay Time eld percentage value
shortens and extends delay times by fractional amounts, thus producing the swing type
of timing effect found in drum machines.
If the Sync switch is off, the delay time reverts to milliseconds. In this case, to edit the delay
time, click and drag up or down in the Delay Time eld, or click in the eld and type in a
value.
The Feedback parameter sets how much of the output signal returns to the delay line input.
Very high values can lead to runaway feedback and produce a loud oscillation  watch your
ears and speakers if you decide to check out extreme feedback settings!
Each delay channel has its own volume control, which can be turned up to +12 dB to
compensate for drastic ltering at the input.
The Dry control adjusts the unprocessed signal level. Set it to minimum if using Delay in a
return track.