2. A self oscillating feedback loop is a great way to transition between songs in a set.

Locking
audio in a feedback loop frees up your main instrument for repatching, changing presets,
loading up new projects, etc.

3. If your delay lets you send the feedback through external effects, you can have some fun
with the audio in your delay loop – for example, pitch-shift the audio an octave up or down
(or any other interval) to achieve a nice harmonizer style effect; or add reverb for a
shimmer like effect. More on that in the chapter on Feedback.

4. Delays can sometimes be a bit overwhelming, repeating everything you feed them. Try
selective filtering on the feedback loop to pick and choose the instruments or frequencies
you want to apply the delay to. For example, a high pass filter on drums can be effective
at applying the delay only to the hi-hats. Similarly, a low pass filter will focus only on the
kick.

Dual delay lines are a great way to make a monophonic sound stereophonic. Here are a few
options:

1. Stereo Chorus/Flanger/Phaser: Feeding a monophonic sound into two delay lines panned
left and right, set to slightly different, low-double-digit millisecond delay times, create a
stereo chorus effect.

2. Dual delay lines with different delay times

(preferably tempo synced…) also create
interesting rhythmic, stereo effects.

3. Ping-Pong delays: A Ping-pong delay will take a

mono signal (or sum up a stereo signal to mono)
and then pass the audio back and forth between a
left stereo delay line and a right one. This gives
the effect of audio bouncing from side to side in the stereo field.

4. Crossover delays: Crossover delays are similar to a Ping Pong delays, only they don’t sum
the audio to mono before feeding it into each of the left and right delay lines. Crossover
delays are most effective when the left and right signals are very different. The effect won’t
really do much if you use mono audio sources, or with stereo sources where the left and
right sides are similar.

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