Tackleberry Delay

The + chip adds a tap; REMOVE takes out the selected one (the taps after it move down one). Per tap: time, level, pan, mute.

A coloured stem per tap: drag its height for LEVEL, its dot on the row beneath for PAN; its TIME is written under it. Clicking a stem selects that tap.

The chosen tap’s TIME (note division on SYNC, milliseconds on FREE), LEVEL, PAN and MUTE - the first control the mute setting has had.

4-point Catmull-Rom cubic interpolation on every fractional read - no saturation, wow/flutter or drift in the delay path. A tap-time move crossfades (~20 ms) between old and new read positions instead of jumping.

Global SYNC toggle. On: each tap picks a note division (1/1…1/32, dotted & triplet) locked to host BPM. Off: free-time ms (1 ms–4 s).

A single feedback gain on the summed tap output, recirculated into the buffer. It is scaled by how loud the taps are between them, so the repeats never grow: with several loud taps the top of the knob means “ring for a very long time” rather than a runaway. A soft limit on what recirculates is the safety net. Low and medium settings sound as they always did. Each repeat drops by the same amount whether its tap is centred or panned hard (40% ≈ −8 dB per repeat).

Stereo width (mid/side) on the wet.

Each repeat a little thinner and darker than the one before. The readout is the top each pass keeps (e.g. 3.6 kHz). Default 75%, which matches Timeless 3’s default repeats; fully down = Off. Not active on sessions saved before 1.9.3.

Soft saturation on every pass through the delay; loud repeats are squashed and warmed, quiet ones pass clean, so it cannot hold the repeats up. Readout in dB of gain into the curve; fully down = Off. (Called DRIVE in the 1.9.2 test build.)

The final mix (last delay knob).

Six bands, identical to Denzel’s engine (static + up/down dynamics) plus per-band drive shapers - on the wet only. Since 1.9.3, raising a band’s drive changes its character, not its level; in Feedback placement every shaper dies away like the clean delay; Bitcrush runs from about 5 bits down to half a bit.

MAG is the familiar magnitude response; PHASE swaps in a −180°..+180° grid on the same log-frequency axis and draws the wet EQ’s own summed phase response, low cut included - from the exact audio coefficients, so it cannot drift from what you hear.

Each dynamic band can key off an external sidechain - standard use: duck the delay repeats from the dry source.

A high-pass on the wet signal only, 0–500 Hz (fully down = Off), in the delay strip. The knob is spaced by ear: a quarter of the way ≈ 45 Hz, half ≈ 150 Hz, three quarters ≈ 300 Hz.

Post (default): buffer stays clean, EQ/drive shape the summed wet after the taps - every repeat coloured identically (mirrors Wallace). Feedback: the EQ’d wet recirculates, so each repeat is progressively re-coloured (classic dub “grimy tail”), and every repeat still lands exactly on time.