Ghost Delay

In Free mode this sets the echo interval in milliseconds, from short coloration to long repeats. Manual changes smoothly repitch existing buffer material, like changing tape speed; host-tempo changes in Sync use a different safe transition.

Try this: Set Free and 375 ms, play a short phrase, then move Time slowly while repeats are sounding.

In Sync mode this selects a shared straight, dotted or triplet musical duration, including long bar divisions. Bars follow the host time signature. Extremely long requests are capped by prepared 120-second capacity: the UI indicates the request and keeps the last valid duration rather than pretending a shorter echo is correct.

Try this: Try 1/4, then an eighth-note dotted or triplet choice while the DAW runs.

Free uses milliseconds independently of host BPM; Sync follows the host tempo and signature, with a 120 BPM/4/4 fallback. Switching uses a nearby equivalent where possible; returning to Free must fit its four-second range. It does not change DAW tempo.

Try this: Choose Free to use Tap, or Sync when arranging rhythmic repeats to a DAW grid.

Moves the L/R intervals oppositely around the main Time: positive values move the left earlier and right later. Very short times are limited to valid causal intervals. Mono routing ignores the saved offset; Stereo and Ping-Pong can use it.

Try this: Try +15 ms on a stereo phrase, then zero for aligned nominal timings.

Returns delayed sound to the network. Below 100% repeats decay; around 100% they may sustain; above 100% they intentionally grow subject to safe containment. Filters and Character change what survives each circulation. Freeze temporarily holds internal feedback near unity without overwriting this stored value.

Try this: Compare 20% and 55%. Lower monitoring before exploring regeneration; use Panic to clear it.

High-pass filtering inside the feedback loop. Raising it removes bass from successive repeats, rather than equalizing the dry input. Its 20 Hz default is effectively open.

Try this: Try 180 Hz to keep a bass-heavy phrase's echoes lighter.

Low-pass filtering inside the loop. Lower values progressively darken successive echoes. It interacts with Feedback and Character, so a long filtered trail need not retain the original brightness.

Try this: Compare 20 kHz and 4 kHz with Feedback around 45%.

Continuous repeat color: zero is clean digital feedback; higher values introduce warm nonlinear softening, compression and high-frequency rounding. It affects the network, not the dry signal. It is not a Tape/BBD selector and does not add timing flutter.

Try this: Try 25% with a clear phrase, then compare against zero at similar listening level.

Adds smooth irregular timing movement to wet delay lines. Low values give subtle instability; high values make obvious warped pitch/stereo motion. It continues during Freeze and is separate from Character's tonal color.

Try this: Add 10% to a sustained echo before trying larger values.

Suppresses the audible wet return when strong main input arrives, then lets echoes recover in gaps. It does not drain the stored feedback energy. It listens to live main input even during Freeze, not an external sidechain.

Try this: Use a phrase with gaps and compare 0% with 40% at Mix 40%.

Mono uses one appropriately summed network returned to both channels. Stereo keeps independent delay lines. Ping-Pong cross-feeds repeats between sides. Stereo Offset is unavailable in Mono; a stereo output is needed to hear alternating sides.

Try this: Select Ping-Pong on a stereo-capable track, leaving Offset at zero first.

Plays the wet echo through overlapping reverse windows tied to Time, not the dry signal. Crossfades avoid rigid gaps; very short times use a safe minimum reverse window. It can combine with feedback and Freeze.

Try this: Start with a short guitar phrase at moderate Feedback, then switch Reverse on.

Closes new input to the echo network while its existing contents circulate. Stored Feedback is retained; Time, filters, Character, Drift and Reverse remain useful. The dry signal still follows Mix. An empty held network is silent.

Try this: Let a phrase enter, engage Freeze while echoes exist, then stop the source. Release Freeze to admit new audio; Panic clears the hold.

Blends original audio and audible wet echoes. Zero is dry before Output; 100% is wet-only for a send/return. Intermediate equal-power blends may sound louder, particularly when paths are correlated.

Try this: Use 25-40% on an insert; use 100% when the dry source already has a separate route.

Final gain after the dry/wet blend. It does not change feedback circulation or duck-detector sensitivity. Lower it for comparison when dense trails raise the total level.

Try this: Trim the final level without changing the echo's decay or tone.

Eco is the economical default. High improves processing quality where the nonlinear/interpolated path benefits; it does not select a different echo model or alter the saved Time/Feedback values.

Try this: Compare High on exposed, strongly colored repeats rather than expecting a new preset.