The Stereo Delay is two mono delays in parallell with common controls. It has a stereo input but can't be panned. Max delay time is 740ms.
The Dual Delay is made up of two delays in parallell, like the Stereo Delay but with separate parameters for each delay line plus Pan controls. If you pan each delay line hard left and right (with otherwise identical parameter values) it should work like the Stereo delay. Max delay time is 740ms in each line.
You can pan the delays either with the Pan controls or by balancing the Level or Feedback controls on each delay line.
The Feedback 1 To 2 and Feedback 2 To 1 parameters make it possible to send the signal from the end of one delay line to the beginning of the other, with possibly interesting results. For example, if Feedback 1 to 2 is set to 100%, a full copy of the output signal from Line 1 is sent to the input of Line 2.
The Dual Two Tap Delay is a dual delay but with two delay taps on each line. This is the most complex delay in the G-Force, which together with some complicated bugs can make it difficult to understand. Max delay time for both lines together is 1480ms; if you set the Line 1 taps to 1480ms, you should get no delay in the Line 2 taps (but see the bug description).
When using Feedback, a delay tap is sent back to the beginning of the whole delay line, which means that it will leak into the other tap.
The One Tap Delay is an ordinary mono input (left side only) delay. Max delay time is 1480ms.
The Quad Tap Delay contains four One Tap delays in one package. Because of that it has lots of parameters but is otherwise not very complicated. Max delay time is 1480ms in each tap.
Similar to the Dual Two Tap Delay, using Feedback sends delay taps back to the beginning of the whole delay block, which means that it may leak into the other taps.
There are delays not only in the Delay block but also in the Pitch Shift, Chorus/Flanger and Reverb effects. The Pitch Shifter's delay is 400ms, but if you use any Pitch Shift and Feedback with it you'll not get a natural delay sound, rather interesting sound effects. The Advanced Chorus/Flanger features up to 45ms delay time, divided into very small increments, which is useful as a short delay. The Reverb features a 100ms Pre-delay parameter. If you set the reverb tail's Decay time to a very small value, the Reverb block will sound like a blurred mellow short delay.
Max delay time in the G-Force Delay block is 1480ms, but this can be increased to 1880ms by using the Pitch Shifter's delay in series with the Delay block and setting Mix to 100% and Feedback to 0% on both. To hear the dry sound simultaneously, rout pipelines in parallell with the two blocks.
The delay filters can be used to make the delay sound more "analog" or natural, but they can also be used as ordinary filters if you set Delay Time and Feedback to zero. For example they work nicely as speaker filters that you can bypass. You can also use them as Wah effects if you link them to a modifier.
By using delay Feedback values around 95-98% together with delay times around 5-15 milliseconds you can produce synth- or sitar-like sounds. The pitch of these sounds is created by the short delay and is independent of the notes played on the guitar; the shorter delay time, the higher the pitch. This effect can also be tried in the Advanced Flanger.
I define a ping-pong delay as when a delay bounces immideately from one side of the stereo image to the other; if the delay moves gradually from side to side I call it a Panned delay. You can make either mono input or stereo input ping-pong delays.
Factory Preset 199 ("Triplet Ping Pong") is a ping-pong delay based on the Dual Delay. It uses twice the delay time in Delay Line 2 compared to Line 1, and feedback in "Line 2 to 1". This results in three delay repeats only. To increase the number of delay repeats, add feedback in "Line 2 to 2" as well. An interesting effect can be produced by using Feedback in both "Line 2 to 1" and "Line 1 to 2". This will produce a hybrid between Ping-ponged and Panned delay, where the delay repeats will be panned precisely between hard right, hard left, center, and then back to right again. Another way to create ping-pong delays is described here.
It's also possible (but harder) to make ping-pong delays using a square wave Panner or LFO to pan every other delay repetition right and left, respectively. When matching the Panner or LFO speed to the delay time like this it's easiest to use Tap Tempo values, and then use half the tempo on the LFO compared with the delay tempo (for example, with delay tempo "1/4", use "1/2" as LFO speed). When setting delay times the usual way (using milliseconds), the LFO speed should also be twice the delay "speed" (=delay time), but that's harder to calculate since the LFO speed is measured in Hz and delay "speed" (=delay time) is measured in milliseconds.
A problem with ping-pong delays made with Panners or LFOs may occur if the delays and the LFO cycle start out of phase, since the starting point of an LFO is impossible to predict. One way to avoid this is to make an ADSR behave as an LFO. The ADSR "LFO" will only start when you hit a guitar string hard enough to trig it.
In the Pitch Shift block it's possible to make a ping-pong delay by using the Fixed 2 Voice and 2 Voice 2 Octave Sub-algorithms. Delay one pitch voice twice as much as the other, and use feedback only on the long delay. By using slight detuning (+/- 5-10 cents), interesting effects can be made where the delay repeats will slowly move out of tune.
Copyright © 1999-2016 Christian Jacobsson.