Blocks Guide Description
The Multitap delay uses up to four delay “taps” to create echoes in intricate patterns and rhythms. To understand the concept of taps, imagine one tape with multiple playback heads, or a turntable with multiple stylus arms. The source material remains the same, but each tap picks it up at a different place/time and can be panned, filtered, and modulated independently. The different types provide a fantastic range of creative possibilities.
Offers four independent delay taps with many extras. A truly creative delay experience.
Extensive delay options with built in ring mod, diffuser, bandpass filter, and comb filter.
The Quad Parallel Delay type features four delay lines, each with a great collection of effects. (Four of each: Ring Modulator, Diffuser, Bandpass filter, Comb Filter, and Chorus.)
Uses a very cool and unique feedback structure, comb filter, and ring modulation.
The Quad-Series Delay places four delays in series with a very cool and unique feedback structure. The delay lines are connected end-to-end so that their times are compounded as the signal travels from one to the next. Each line has its own output tap, however, so you can hear each tap as it enters the next in line.
Uses our proprietary tape delay model with four taps for “space echo” effects.
The Quad-Tape Delay type is almost identical to the Quad-Tap type with a key exception being that it uses our proprietary Tape Delay model featuring a Motor Speed control to vary the speed of the motor/tape. To hear the classic “time warp” effect, set feedback controls high enough and then vary Motor Speed. This type does not have an input envelope follower built-in.
Identical to the Quad Tap delay, except the Bandpass filters are outside the FB loop.
Creates a plex of compound feedback, offering the ability to add density or even create reverbs.
A Diffusor uses feedback delays to increase density and layers. It “smears” transients to create interesting reverb- like effects. At some Time and Feedback settings, taps can be heard individually, but diffusion is typically used to create more of a “wall of sound” effect. The Diffusor type in the Multitap Delay block is comprised of four two- second diffusors in series.
Axe-Fx III Multi-Delay Block Articles
FM3 Multi-Delay Block Articles
List of Types
Be sure to check out the Axe-Fx Wiki for more details
The Quad Tap Delay offers four “taps,” each of which extracts a signal from any point in the delay line. It is useful for cool creative and rhythmic effects. Each tap has its own level and pan controls, plus a bandpass filter with adjustable frequency and Q. Four feedback controls are provided, but the sum of the four feedbacks may not exceed 100%. Notice that feedback from all four taps is summed at the input, so even if its output level is reduced to 0%, a tap with any feedback value greater than zero will still be heard the next time another tap plays.
The delay lines of the Quad Series Delay are connected end-to-end so that their times are compounded as the signal travels from one to the next. Each line has its own output tap, however, so the output of any line can also be heard as it enters the next delay in the series. If you then set each delay time to 100 ms, you would hear echoes at 100, 200, 300, and 400 ms after the input.
The parameters of the Quad Series Delay are identical to those of the Quad Tap delay (5.20.1 above), except for the absence of the diffusor block controls, the FEEDBACK SEND and RETURN parameters, and the single FEEDBACK control.
FDBK SEND – Specifies which delay output (1–4) should be tapped to feedback to the input.
FDBK RET – Specifies which delay input (1–4) the feedback tap should be returned to.
FEEDBACK – Sets the amount of feedback from the send to the return.
The Ten-Tap Delay provides a unique way to control the time, pan, and spacing of one to ten separate echoes. Instead of feedback, it uses an innovative DECAY control to determine how the level of the ten taps changes over time. The levels of individual delay taps can also be adjusted from -80 to +20 dB. Pan is set as a SHAPE that can change automatically as the taps progress.
The Rhythm Tap Delay uses the same algorithm as the Ten-Tap Delay but allows you to create a custom rhythm of repeats. You can enter the rhythm in three ways:
- By specifying milliseconds between each tap and the previous.
- By specifying some number of quantized time units (“divs”) between each tap and the previous.
- By tapping a rhythm with the Enter button and the LEARN function.
The Band Delay, shown below, creates filter sweep echoes with a bandpass filter at the output of each of four parallel delay lines.
In terms of delay effects, a multiplexer, or “plex,” is a feedback network through which each of several delay lines is fed back to itself and all the others. The result is a very smooth, reverb-like effect. When combined with modulation, the result is a huge and lush-sounding space effect that can have qualities of echo, reverb, and chorus all at once. The Plex Delay uses four delay lines.
The Plex Detune is based on the Plex Delay (0 above) but adds four high-quality pitch shifters with a range of +/- 50 cents to the output of the delay taps. Like the LFOs of the Plex Delay, these shifters help create layered effect tails rich with pitch variations. With the following exceptions, the Plex Detune is identical to the Plex Delay.
The Plex Shift is nearly identical to the Plex Detune, which is itself very similar to the Plex Delay. Its pitch shifters, however, are granted a two-octave range with SHIFT parameters. This sub-algorithm has the same parameters as the Plex Detune with two exceptions:
DIRECTION – This determines whether small granules of audio in the pitch shifter are played back forward or reversed. To understand how this works, imagine a word whose individual letters have been mirror-imaged but are still in the correct left-to-right order. In this case, the letters are very short snippets of audio. These are reversed (and possibly pitch-shifted) but are played back in the order in which they were recorded. The length of the snippets depends on the TIME setting of the tap.
SHIFT 1,2,3,4 – This sets the amount of pitch shift applied at the output of each tap within a range of +/- 24 semitones.
A diffusor uses feedback delays to increase density, “smearing” transients to create interesting reverb effects. At certain time and feedback settings, taps can be heard individually, but the diffusor is typically used to create a lush blanket of sound. This algorithm chains four diffusors in series and controls the matrix with a single feedback parameter.
The Quad Tape Delay adds a MOTOR SPEED parameter to the “QUAD TAP” Multi-Delay type, also reducing the number of LFOs from four to two. Like the classic Space Echo effect, it can produce wild oscillating echoes in complex rhythmic patterns.
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