Several eras of delays combined into one, from dense vintage echoes to modern textures
A distinctive modulation delay inspired by early digital delays of the 1980s and reimagined for modern production
However, memory was expensive, and bandwidth was limited. Each generation of digital delays had its own characteristics, defined by delay time, filtering, noise level, and modulation behavior. Some devices were designed for short, chorus-like delays. Others increased delay time at the expense of bandwidth. Later designs provided even greater clarity and range.
Digital Delay Still Matters Today
This effect was inspired by the Ibanez™ pedals (DML, DML10, and DML20) from the 1980s. It’s a well-known part of the early digital delay era*.
ExoDelay reflects this evolution by offering several delay icons, each reflecting the design philosophy of the era, and then complementing them with modern routing and control.
Shorter delay ranges promote rhythmic playing.
A narrow bandwidth fits better into the mix.
Subtle modulation adds movement without chaos. Saturation and noise create depth and dimension.
DELAY MODES
Inspired by guitar delay pedals
- DMOD: Darker bandwidth and more expressive character. Rhythmic echoes and classic modulation textures.
- DMOD-10: Smoother tone and balanced clarity. Melodic delays and evolving modulation.
- DMOD-20: Brighter bandwidth and clearer repeats. Spacious delays and detailed modulation.
- MODERN TRI: x3 delays in one evolving delay line. Ambient effects, rhythmic complexity.
Variable time range as a masterpiece
Extends automatically depending on the mode
Each delay mode has its own time range. You can create effects such as flanger, chorus, vibrato, doubling, reverse, and echo delay. Sync switches the time parameter between millisecond values and time-synchronized beats, triplets, and dotted values.
Routing Architecture
The operating principle is the same as other delays, but with the additional function of modulation (LFO changes the delay time)
-> Input Stage -> Pre-Emphasis Stage -> Saturation Stage -> Delay Stage -> De-Emphasis Stage -> Ducking Stage -> Tone Stage -> Dry and Wet Mixing -> Output Stage
Noise, spread, width, and time-domain regeneration—a masterpiece.
We create it by injecting noise into vintage chips with limited range and saturation. Boost and attenuation stages are also part of the device’s architecture. Noise adds a sense of movement, enhances the illusion of depth, and makes feedback more lively. Spread adjusts the width of the stereo image and adds a flanging effect. Regen sets the amount of delayed signal returned to the delay stage.
AUTOGAIN CONTROL
: Adjusts the output level of the saturation stage according to the input level.
DUCK AMT: Adjusts the amount of signal reduction of the effect. The ducking effect duration is adjusted using the TIME control.
DUCK SHAPE: Adjusts the smoothness or sharpness of the ducking effect.
USES FOR PROCESSING INSTRUMENTS
– GUITAR: Rhythmic delays. Modulated leads. Clean ambient textures
– BASS: Short delays with ducking. Subtle modulation for expansion
– SYNTHESIZERS: Animated echoes. Stereophonic movement. Sound Design Layers
– VOCALS: Tempo-synced delays. Duck for clarity. Darker tonal settings
– DRUM MACHINES & PERCUSSION: Echoes with feedback. Stereo rhythmic delays. Controlled feedback textures
