|Erica Synths Black Stereo Delay Now Shipping|
|New Black Stereo Delay is full of unique features and soundRiga, Latvia, June 13, 2019 — Tape and digital modes of delay, hold with overdub and delicate delay time and feedback control — in combination with CV and trigger control over various parameters — make the new Black Stereo Delay module from Erica Synths not only a great effects unit for your modular system, but also an instrument on it’s own.|
Black Stereo Delay is a hi-fi stereo delay based on Erica Synths’ own custom DSP engine. It includes several different digital and ping-pong modes of delay, hold with overdub and feedback control and other features making it a versatile addition to almost any rack. Black Stereo Delay’s features include: Stereo delay with adjustable delay timeTape, digital and ping-pong delay modesTap and clock synchronization of delay timeReverse delay modeHold mode (samples up to 40” of audio) with Add (overdub) featureTrigger control over Hold, Add and ReverseCV control over delay time, dry/wet mix and feedbackFeedback path soft limiting compressionAdd to hold soft limiting compressionAdjustable stereo delay spreadFirmware update via audio bootloaderBlack Stereo Delay is available now and priced at € 310.00. For more information, please visit the Erica Synths Black Stereo Delay product page.
ABOUT ERICA SYNTHS
Erica Synths team of visionaries, engineers and musicians have been working hard to bring you modules and instruments that will set your modular system apart from mass in terms of how it sounds, looks and functions.
I have had the Strymon Magneto for some time now and I decided to shoot a short video discussing some of my thoughts.
spoiler it is a very musical module. I really enjoy the hands on control. While admittedly I was concerned about the price point. Considering I recently had purchases a Rainmaker delay module which did not last in my rack. The Magneto was met with a bit of caution. I must say however I am left quite impressed. it is deceptively deep and quite controlled and full of “sweet spots”. The ability to reverse delays and freeze moments in time is great. Check out the video and let me know what you think.
for more info check out https://www.strymon.net/products/magneto/
Audio Damage is Has released 3 new plug in VSTs available directly from their site. New versions of the Delay Plug in “Dubstation 2″, Reverb Plug in ” EOS 2 ” and the all new waveshaping distortion “Grind” are now available.
EOS 2 consists of four high-quality custom-designed reverb algorithms, made with the modern production environment in mind. Three different plate simulators and Audio Damage’s own Superhall algorithm give you a broad palette of reverb, and the easy-to-understand interface makes adjusting the algorithms to suit your track incredibly simple.
From the Audio damage site:
The original dub delay plugin and still the best! Dubstation 2 takes our most popular product and adds a whole raft of new features, including a dual mode for separate control over the left and right delay times, ping-pong, a new feedback saturation algorithm, and an LFO. Along with an all-new procedural and Retina-friendly user interface and (FINALLY!) ProTools compatibility, this represents a major leap forward for one of our signature products.
All those bells and whistles aside, the heart of Dubstation is our painstaking bucket-brigade delay model. Often imitated, but never duplicated, Dubstation has been the go-to plugin for that sound for over a decade, used in thousands of commercial productions, and with good reason. With the addition of the LFO and saturation controls, Dubstation has moved in to the realm of tape delay emulation as well, and is a sonic Swiss Army knife for delay.
from the AD site:
A true powerhouse of audio warfare, Grind puts the “damage” in Audio Damage. From subtle tube-style saturation to full-on mangled wavetable distortion, Grind is a Swiss Army Knife of sound design.
Grind consists of three main blocks: wavetable lookup, in to algorithmic saturation/distortion/, and finally to a multi-mode filter. The wavetable module uses the amplitude of the incoming signal to replace the sample with one from 15 different linearly-interpolated wavetables, chosen for their mangling potential. Window size and phase controls provide further tone-shaping possibilities.
The next stop is the algorithm module, with eleven different distortion and saturation algorithms, from simple soft-knee saturation on up to full on sine warping.
After this, the signal passes through a multi-mode filter stage, with eleven different filter models to choose from, including “vintage digital” versions from the early days of plugin development, on up to our modern analog-modeled MS20-style lowpass and highpass synth filters. A tempo-synced LFO provides motion for the filter frequency, and a final stage of soft clipping and DC filtering tames the output.
Make no mistake: this is not a subtle, polite tool. With careful tuning of the provided presets, it can be tamed to normal filtering and saturation duties, but on the whole, it is a noisy, snorting beast of a plug-in, and is happiest with Full Metal audio destruction.
OK enough with the AD copy. I have had some time with all three of these (I even created a group of presets for Dubstation 2). I can say these are a really nice step forward in the Audio Damage line up. The UI is really impoved on these (Grind and EOS2 have some killer front end graphics to help understand whats going on).
Grind really impressed me in its filter types as well as how the distortions can take a plain sound and add a ton of movement and character. Similar to the Eurorack module Shapes also from Audio Damage, Grind lets you sequence lookup tables and waveshaping wavetables… very freaking cool.
tempo syncing the waveshaping and filter frequency changes is a joy.
Dubstation 2 is a very straight foward BBD sounding delay that will let you just easily get that dub delay you are after without a cluttered interface.
EOS 2 is just a joy to look at and hear. I’ve been using this to create gorgeous synth pads and basically create environments for my instruments to breathe in.
The Dual Looping Delay (DLD) is an advanced audio processor for creative synthesis. Not a tape or analog emulation but a modern crystal-clear digital delay, the DLD combines features of delay, looping, and sample-tight synchronization for powerful and dynamic sound capture and modification. The DLD is designed to integrate seamlessly with modular timebase and sequencing devices such as the 4ms Quad Clock Distributor (QCD), etc.
- Two independent delay/loop channels, synchronized to a common time base
- Maximum 88 seconds per channel (almost 3 minutes total recording time)
- 48kHz/16-bit sampling rate
- Normaled connections of input and output for flexible use in mono, stereo, or dual mode
- Tap tempo button and clock Ping input
- Delay/loop time set as a number of musical beats (or fractions of beats) using the Time knob, switch, and CV jack
- Sample-accurate clock output for perfect synchronization
- Loop clock outputs for each channel
- Time switches change range of Time knob from 1/8th notes up to 32 bars
- Digital feedback, up to 110%
- Delay Level control, independent of dry/wet signal mix
- Infinite Hold mode disables recording input and fixes regeneration at exactly 100%
- Reverse mode plays memory contents backwards
- With an infinite loop locked, Time knob allows for “windowing” around memory
- Triggered toggle inputs for Infinite Hold and Reverse
- Send and Return on each channel for feedback with external modules
- CV jacks to control Time, Level, and Feedback
- As new features are developed, firmware can be updated by playing an audio file into the DLD
- 20HP Eurorack module
I have to say after using this plug in for a bit, it has really become my go to plug in. With it’s modular modulation set up and the ability to easily create interesting FX and saturation… it is really hard to beat.
Add it to your collection now for $144.00 usd