ECO

ECO is a zero-latency delay, modulation and reverb processor designed to move from clean rhythmic repeats and tight slapback to dark analogue echoes, worn tape textures, diffused spaces and controlled feedback effects.

Its thirteen delay modes combine different tonal characters, saturation, modulation and stereo behaviour. Tempo synchronisation, chorus or vibrato modulation, stereo spread, ducking and a dedicated reverb send make it possible to build anything from a focused vocal delay to a wide, evolving soundscape.

Use it for vocal throws, guitar and bass echoes, rhythmic synths, wider drums, vintage delay colours, spacious doubling, ambient textures or extreme feedback effects. ECO can do it all.

MAIN INTERFACE

• TIME / NOTE sets the delay time. When tempo synchronisation is off, TIME provides a range of 1 ms to 8000 ms, with 500 ms at the centre of the control. Short settings create tight doubling and closely spaced reflections, medium settings produce distinct echoes and long settings create spacious repeats and extended rhythmic patterns. When tempo synchronisation is enabled, the control changes to NOTE and offers musical divisions from 1/32 to 1/1, including straight, dotted and triplet values. "D" indicates a dotted division and "T" indicates a triplet division.
• SYNC selects how TIME is controlled. When disabled, TIME provides a freely adjustable delay in milliseconds. When enabled, NOTE synchronises the delay to the host tempo. Use synchronised settings for rhythmic repeats that follow the session, or manual settings for slapback, doubling and delays that sit between the beats.
• FEEDBACK controls how much of the delayed signal returns to the delay input. Low settings create short echo patterns, medium settings produce longer repeat trails and high settings create sustained, increasingly coloured feedback. The range is 0% to 150%. Settings above 100% enter creative feedback territory and can produce growing repeats, saturation and self-oscillation, depending on the selected mode and other controls.
• MODE selects the character of the delay. Each mode changes the way the repeats are filtered, coloured or modulated:
  • CLEAN gives open, clear repeats with minimal built-in colour. Use it for precise echoes, subtle doubling and delays that retain more of the original source.
  • DIGITAL adds a more deliberately digital character, with reduced resolution and a shaped frequency response. Use it for defined repeats with a slightly grainier, older digital-delay feel.
  • SLAP creates short, focused echoes with a forward midrange character. Its dedicated 30 ms to 250 ms range makes it useful for vocal slapback, guitar doubling and compact rhythmic reflections.
  • ANALOG gives warmer, darker repeats with gentle compression and a rounded character. Use it when the delay should sit behind the source rather than compete with it.
  • TAPE adds low-frequency body, softened highs, saturation and tape-style movement. Use it for warm vocal throws, guitar echoes and repeats that become more coloured as they circulate.
  • OLD TAPE produces a darker, more worn tape colour, with stronger high-frequency loss and aged movement. Use it for vintage echoes, unstable textures and repeats that gradually disappear into the background.
  • PING PONG circulates the repeats between the left and right channels. Use it for moving stereo echoes, rhythmic width and delays that travel around the original source.
  • RICH MOD adds a denser modulation character to the repeats. Use it for lush chorus delays, moving synth echoes and wider, more animated trails.
  • PHASEY introduces phaser-style movement into the delay colour. Use it for sweeping repeats, hollow textures and more obviously moving echoes.
  • BBD creates dark, bandwidth-limited repeats with compander-style behaviour, saturation and a grainier character. Use it for vintage pedal-style echoes and dense, rounded feedback.
  • LOFI combines reduced resolution, sample-rate-style degradation, restricted bandwidth and stronger saturation. Use it for rough echoes, broken textures and deliberately degraded repeats.
  • DIFFUSED spreads the delayed signal into a denser cloud of reflections. Use it to soften the separation between repeats and move toward ambient, space-like textures.
  • QUARTZ gives a clear, open delay character with a more restrained built-in modulation range. Use it for bright, defined repeats and precise rhythmic echoes.
• MIX controls the global blend between the original signal and the processed delay output, including its modulation and reverb return. Use lower values for subtle parallel movement, 50% for an equal dry/effect blend, or 100% for a fully processed signal.
• WIDTH controls the stereo width of the processed signal. 0% collapses the wet signal to mono, 100% preserves its natural stereo width and settings up to 200% exaggerate the side information. WIDTH affects only the processed signal, so the dry centre can remain stable when MIX is below 100%. On a mono-in/mono-out instance, WIDTH is disabled because no stereo output is available.
• SEND controls how much of the processed delay signal enters the reverb. Lower settings add space around the repeats, while higher settings create larger, more continuous ambient trails. The reverb is added alongside the delay rather than replacing it. At 0%, no new signal is sent to the reverb, allowing an existing tail to decay naturally.

Note: synchronised delay times are limited to 8000 ms. SLAP uses its own dedicated range of 30 ms to 250 ms, including when tempo synchronisation is enabled.

ADVANCED PANEL

• TONE changes the tonal balance of the delayed signal. Lower settings produce darker, warmer repeats, while higher settings create brighter, more present echoes. The centre default position is neutral for the additional tonal adjustment, while the selected delay mode retains its own character. Use TONE to place the repeats behind the source or make them stand out more clearly.
• DRIVE increases saturation within the delay’s colour and feedback processing. Lower settings retain more definition, whilst higher settings create stronger harmonic density, compression and distortion as the repeats circulate. At 0%, DRIVE adds no extra user-controlled drive, but the selected mode can still contribute its own saturation and character.
• HPF adjusts the high-pass filter applied only to the processed signal, from 10 Hz to 20,000 Hz with an OFF position. Use it to remove low-frequency echoes, protect the centre of a mix or create a lighter parallel delay.
• LPF adjusts the low-pass filter applied only to the processed signal, from 10 Hz to 20,000 Hz with an OFF position. Use it to soften bright repeats, imitate darker analogue or BBD-style echoes, or place the effect behind the original source.
• RATE sets the speed of the modulation. Slow settings create gradual drift, widening and tape-like movement. Medium settings produce traditional chorus. Faster settings move toward vibrato, flutter and special-effect territory. The range is 0.01 Hz to 5 Hz. RATE remains independently adjustable when the delay time is synchronised to the host tempo.
• DEPTH sets the amount of modulation applied to the delayed signal. Lower settings add subtle motion and width, while higher settings create stronger pitch movement, deeper chorus and more obvious wobble. Its character depends on the selected delay mode. In DIFFUSED mode, it also increases the movement within the diffused reflections.
• CHORUS / VIBRATO selects the character of the modulation applied to the repeats. CHORUS combines moving voices for a thicker, wider and more layered delay sound. VIBRATO creates more direct pitch movement for drifting echoes, wobble and less stable delay textures. Use RATE, DEPTH and DETUNE to shape either mode.
• SPREAD adjusts the timing separation between the left and right delay channels, from -100 ms to +100 ms. The centre position adds no timing offset. Positive and negative settings reverse which side arrives first, allowing the repeats to lean in either direction. Small offsets add subtle width, while larger offsets create more obvious left/right separation. SPREAD changes timing rather than level or pan. Its stereo effect requires a stereo output.
• DETUNE increases the pitch and timing separation within the modulation voices. Low settings add gentle variation, while higher settings create a wider, less stable and more obviously detuned sound. Use it with DEPTH and the CHORUS / VIBRATO selector to move from subtle animation to richer, more unsettled echoes.
• DUCK reduces the level of the processed delay and reverb while the input signal is active, allowing the effect to become more audible as the source falls away. Higher settings also reduce feedback recirculation during the ducking action. Use it to keep vocals, lead instruments and rhythmic parts clear while allowing their echoes to fill the spaces between phrases.
• REVERB MODE selects the character of the reverb fed by SEND:
  • SMOOTH gives a smooth, plate-style tail that blends closely with the repeats.
  • DENSE creates a fuller, denser hall-style response for richer ambient trails.
  • LARGE produces a spacious hall-style character for expansive echoes and longer soundscapes.
  • STUDIO adds a studio-ambience character for placing the repeats in a more defined space.
  • ECO selects a lighter reverb engine for adding space with lower processing demand.
• DECAY sets the length of the reverb tail. Short settings add compact space around the repeats, while longer settings create sustained ambience and larger, more continuous textures. The range is 0.30 seconds to 20 seconds. DECAY controls the reverb tail separately from FEEDBACK, which controls the recirculation of the delay.
• DAMP controls the high-frequency damping and darkness of the reverb return. Lower settings retain more brightness, while higher settings produce a softer, darker tail. Use it to keep long reverberant echoes behind the original source or reduce high-frequency build-up.
• TUBE adds tube-style saturation to the combined dry/wet signal. Lower settings add subtle harmonic density, whilst higher settings create stronger midrange colour, compression and drive, helping the sound feel thicker, more obvious and in your face. Automatic level compensation helps control the increase in energy as the saturation is raised.
• LEVEL controls the final output level after the dry/wet mix, from -24 dB to +24 dB. The final limiter, when enabled, is processed after this control.
• LIMITER MODE (OFF / SAFE / AGGRO) is a lightweight but powerful post-clamp output limiter that prevents final clipping (-0.003 dB final ceiling). Use SAFE for transparent control, AGGRO for fast peak control.

Note: because HPF and LPF process only the wet path, the original signal is not filtered by these controls when MIX is below 100%. Both filters also shape the reverb return.