![]() I feel certain UVI considered musical applications for each thing they added to Dual Delay X in the course of development, keeping in mind how musicians and producers could apply the tools on offer. Add some parameter modulation within your DAW, which I have found to work very smoothly with great access to all the plugin’s functions, and you can achieve many unique and interesting sounds.ĭual Delay X is the kind of plugin that you might find yourself reaching for in more and more situations as you familiarize yourself with its considerable capabilities. With its Diffusion and Dispersion controls and judicious use of its Feedback Shaping, you can create sounds that border on delay plus reverb very convincingly as well. It’s just always ready to go farther than that and give you that same precision and control, plus a sense of motion and depth, shaped exactly to your preference. Even if all you’re looking for really is a simple delay effect but with a great deal of precision in dialing in the feedback character to sound like nearly anything you would like, this is a great tool for the job. Think it might sound better if the repeats had a character as if fed through an old converter, or with some added tape-like warmth and saturation? It’s right in front of you as well. The Compensate control is crucial to getting the sound of your feedback just right when using the Feedback Shaping module, and thankfully Dual Delay X offers a nice visualization of what you’re doing in that module right on it as well. Using its Feedback Shaping, you can easily center feedback around a given frequency, which can be a marvelous method to add character to keyboards or guitar, tuning the center to emphasize certain notes of the key you’re playing in. If you want to create a resonant delay line that pushes slight saturation and creates subtle diffusion with a moving stereo effect to repeats, it couldn’t be easier. High settings on individual modules when combined with high feedback in the delay itself add up quickly, so some discretion is advised! One of them is its delay-line compressing Ducker feature, which pops up a small window controlling its functions from a cute icon in the upper right of the plugin window that looks a lot like a rubber duck children’s toy. There are only a couple exceptions to having everything it can do on one screen. Not that figuring out its capabilities is especially difficult thanks to the one-screen interface. It’s up to the user as to how much is going on in the feedback loop at a given time, and UVI has included many factory presets with sensible categories to help familiarize users with what Dual Delay X has to offer geared toward different scenarios. ![]() All of Dual Delay X’s features are modular except for the delay line itself, and can be turned on and off easily by clicking the effect title and graphic at the top of each module. The magic is in the ease with which simple stereo becomes very complex indeed, and in the excellent array of effects that can be applied in the delay’s feedback path. In addition to the aforementioned Input and also Output rotation, Dual Delay X’s In / Out section allows you to easily adjust the width of stereo both coming into and going out of the plugin, a very useful overall tuning feature. ![]() Doing things like setting up a simple ping-pong delay could not be easier (just adjust your input rotation 45º), and more subtle – but stable! – stereo variations can be had with Time and Feedback controls modified by straightforward L/R offset knobs that make it simple to set your left or right side delay line or feedback to some multiple of the base setting. One of the great features of Dual Delay X is its excellent visualization of exactly what is happening to your delay signals in the stereo field and with regard to their phase, allowing you to picture even very complex spacial behavior as you adjust the controls. Monophonic operation is possible as well, and in fact the plugin loads in mono before you adjust Left / Right offsets, rotations or reflections. As the name suggests, the interface is built around dual delay lines, one for the left channel and one for the right.
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