Synced Delay

A delay whose time locks to your clock. Instead of dialing in milliseconds, you pick a musical division and the echoes fall exactly on the beat — eighths, dotted quarters, triplets — staying in step however the tempo moves.

How it works

Patch a clock into Clk and the module measures the time between pulses to learn your tempo. The delay time becomes that measured period multiplied by the division you choose, so the repeats are always musically related to the groove. That is Ext, the Clock setting it starts in, and it tracks tempo changes as soon as the next pulse lands. Set Clock to Song and it takes the timeline's tempo directly — no cable, correct the instant you load it. Until either of those, it sits at 120 BPM.

Controls

  • Fdbk — how much of each echo feeds back into the line; higher settings stack longer trails, up to near-infinite repeats just shy of runaway.
  • Tone — a damping filter sitting inside the feedback loop. Fully up (1) keeps every repeat bright and full-band; turn it down and each pass loses a little more top end, so the tail darkens as it decays — the difference between a pristine digital echo and a warm tape-style one.
  • Mix — blends dry input against the delayed signal, from fully dry to fully wet.
  • Div — the musical length of the delay relative to the clock: 1/64 up through a whole note (1/1), including dotted (1/8., 1/4., 1/2.) and triplet (1/32T, 1/16T, 1/4T) values. Defaults to 1/4.
  • Clock — where the tempo comes from. Ext measures the pulses arriving at the clock input, which is how this module has always worked. Song follows the timeline's tempo directly, with no cable at all. Int runs at its own speed, set by the BPM field beside it. One thing worth knowing: in Ext the divisions are relative to whatever you clock it with, so feeding it sixteenths makes every label four times faster than it reads. In Int and Song the module knows what a quarter note is, so the labels mean exactly what they say.
  • BPM — the tempo for Int. In Song it greys out and shows you the timeline's tempo instead; in Ext it greys out too, because the cable is in charge.

Inputs & outputs

  • In L / In R — the audio you want to echo. Mono? Just use L. Patch a

stereo pair and each side gets its own delay line through the shared clock and knobs — a wide source echoes wide.

  • Clk — the clock that sets the timing; feed it the same pulse driving your sequencer so the repeats lock to the pattern.
  • Fdbk / Tone / Mix CV — voltage control over those three knobs; patch an LFO or envelope to swell the trails, darken the tail, or fade the wet signal in and out hands-free.
  • Out L / Out R — the wet/dry mix. With stereo in but only L cabled, the

channels fold to mono automatically so nothing goes missing.

Tips

  • Triplet and dotted divisions (1/8., 1/4T) are the secret to classic dub and trance delays that push against a straight beat.
  • High Fdbk with a short division builds dense, metallic tails; pull Tone down to keep them from piling into a harsh full-band wash. The output is clamped to a safe ceiling either way, so heavy feedback caps off instead of blowing up.
  • Change Div while the audio runs for instant rhythmic stutters and glitchy clicks as the read head jumps to a new tap.