8bit 2tap mod delay
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1. Fetures
2. Editor Parameters
3. Engine Parameters
4. Parameter Macro settings


2.7 seconds 8-bit delay.
2x Delay Taps with independent Time / Feedback control.
2x stereo audio-rate LFO for delay Time / Amp modulation.
Resonant pre-delay Highpass and post-delay Lowpass Filters.
Delay time sync-able to system BPM with custom time division.
Delay time, LFO rate and Filter cutoff can be mapped to accurate note frequencies for external Midi / CV automation
All 16 internal parameters can be assigned to hardware knobs as macros with user-defined range.
Up to 16 patches can be packed into one user unit, directly scrollable with hardware knob.
Carefully optimized algorithm, lighter than the factory flanger.
Available as any of the effect types (modulation / delay / reverb).


Editor Parameters

Project Name:
Name the project in 10 characters, it will be used as both the filename and FX name displayed on the hardware.
Export Button:
Export the current project as a ready to use user-unit file following the “export format” setting.
Export Format:
The target fx slot and platform to export. The choices are:
Mod: modulation fx
Del: delay fx
Rev: reverb fx
MnlgXD: Minilogue XD file extension
NtkDig: Nu:tekt Digital (NTS-1) file extension
Prlg: Prologue file extension

Note that Mod fx target for Prologue comes in two formats.
Prlg Mod(Bi): bi-timbral, half-delay time
– Prlg Mod(Mix): mixed-timbral, full-delay time
Since the Ram size available for mod fx is extremely tight, to act as a proper bi-timbral effect the Prologue version needs to cut maximum delay time in half. As workaround a special version is made that pre-mix the wet signal of two timbres together, it retains the full maximum delay time for either single or bi-timbral use, but with the side effect that wet signal isn’t bi-timbral anymore (dry signal remains untouched,) that means if you set the mod fx on for Main and Sub but the delay/reverb only on for Sub, you’ll still hear the wet delayed signal from Main timbre being passed to delay/reverb (because it’s mixed together with Sub’s delay).

Patch Edited:
The current patch being edited by the editor.
Patch name:
Double Click the box to edit patch name. It’s only visible in the editor, won’t be displayed on the hardware.
Copy patch:
Select a patch slot to copy from, overwriting the current edited patch.
Patch Monitored:
Select the patch you are monitoring. “Currently Edited” means just that, “Knob Position” monitors patch selection corresponding to the knob and range settings just like on the hardware.
Patch Select Knob:
Choose which knob you want to be used for patch switching on the hardware.
Knob Select Range:
The range of patches you want the knob to select. To disable patch switching, simply select any of the knobs and set the same patch for range.
Time Division table:
A 16-entry global time division table for sync mode of delay time. It’s applied to one beat of time from the BPM source. For example 3/7 under 120 BPM will result in (60 / 120) * (3 / 7) = 0.214 (sec) delay time.
Editor BPM:
The BPM setting of the editor for monitoring sync’d delay time.

Monitor Knobs “A/Time,” “B/Depth,” “shift-B”
The three knobs on the bottom-right, these are simulators of corresponding knobs on the hardware for monitoring purpose.


Engine Parameters:

Two tap Delay (L and R):
Two 8-bit delay taps with independent setting for delay time and positive-negative feedback.
Delay Stereo Spread:
The pan position of the taps from hard-left-right to mono to hard-right-left.
Delay input send:
The input gain from dry signal into the delay buffer. Has extra range up to 4x gain to adjust the bit crushing resolution or overdriving the delay input.
An audio-rate LFO modulates the amplitude of LR delay signal in opposite direction after the Lowpass filter stage. At 0%~100% and low speed, it’s a tremolo, at 100%~200% and audio rate, it’s a ring modulator.
Time LFO:
An audio-rate LFO modulate the LR delay time in opposite direction. At low speed it’s chorus-like modulated delay, at audio-rate it’ll be FM-ing the delay signal.
Input Highpass / Output Lowpass resonant filters
The input HPF is placed before the delay buffer input and will effect the LR feedback signals and delay input send.
The stereo output LPFs are placed after LR delay outputs, before feedback and Amp-mod.

Run-down of the delay(wet) signal path:
Input (±feedback) -> HPF -> clip/bitcrush -> Delay Input
Delay Output (±FM)) -> LPF -> (to feedback) -> Mix/Pan ±AM -> Output


Parameter Macro Settings

Top-Right Selector: Knob Assign
Choose which knob will be controlling this parameter.
Top-Left Selector: Parameter/Macro Mode
– Fixed: means the value is fixed throughout this patch.
– Lin-Lin: parameter value follows knob movement linearly in the range specified by the three sliders corresponding to 0%, 50% to 100% position of the knob. For example, to recreate the shift-Depth dry/wet control of factory onboard delay/reverb, follow this setting:

– Lin-Fix
– Fix-Lin
– FIx-Fix
These are similar to the Lin-Lin setting, but with parameter value fixed on either or both side (0%~50% and 50%~100%) of knob position.

Delay Time Modes
The Delay Time parameter have additional option to switch between mili-second timing and midi note frequency (useful for comb-filtering or pseudo Karplus-Strong,) and a BPM±ms mode.
Under BPM±ms mode, the delay time is sync’d to the system BPM, the first two sliders control the knob selection range to the global time division table, the third slider sets a fixed ±ms offset to the sync’d delay time.

Midi mapping for CC control
Oct/V mapping for CV control
Parameters in “mid” are scaled to midi note frequency, that means if mapped carefully they can be automated by midi CC or CV voltage to pretty accurate note frequency. Below is the example setting for CC (left) and CV Oct/V(right).