Delay (Native)

Parameters

Delay L — Left-channel delay time in ms, 1–2000. Sets the delay for the left side independently. Pair with delay_r at different times for ping-pong effects (set L and R to different values, e.g. 250 ms and 375 ms for dotted-eighth/quarter triplet feels).

Delay R — Right-channel delay time in ms, 1–2000. Same role as delay_l but for the right side. When sync is on, this is locked to delay_l.

Feedback — Feedback amount, 0–0.95. Routes the delayed output back into the input. 0 = single tap only. 0.3–0.5 = a few audible repeats. 0.7+ = sustained tails (be careful past 0.85 — can sustain near-indefinitely).

Dry/Wet — Equal-power blend between dry (0) and delay output (1).

Lowpass — Lowpass cutoff (in Hz) inside the feedback path, 200–20000. Each repeat is filtered through this lowpass — so successive echoes get progressively darker (mimicking how acoustic spaces or analog delays naturally darken with each bounce). Set 4000–8000 Hz for “tape echo” character; lower for vintage digital-delay feel.

Highpass — Highpass cutoff (in Hz) inside the feedback path, 20–2000. Removes low-frequency rumble from the delay tail. Useful for keeping bass-heavy material from muddying up with each repeat. 80–150 Hz is typical.

Width — Stereo width of the delay tail, 0–2. 0 = mono (delay collapsed to center). 1 = normal stereo. 2 = enhanced width (delay spread wider than original stereo image). Useful for separating the dry signal’s stereo image from the delay’s spread.

Cross Feedback — Cross-channel feedback amount, 0–1. Routes some of each channel’s feedback into the other channel — produces ping-pong character without needing different L/R times. 0 = no cross-feedback (clean stereo independent delays). 0.5 = balanced ping-pong. 1 = full cross (extreme ping-pong; can sound metallic at high feedback).

Crossfeed — Inter-channel mixing of dry-to-delay routing, 0–1. Different from cross_feedback — this controls how much the input pre-delay mixes between channels. 0 = each channel’s delay only sees its own input. 1 = both channels’ inputs mix into both delays equally. Use to bias the delay routing (one-sided dry → both delays, etc.).

Additional controls

Sync — When on, delay_l and delay_r are locked together (changing one changes the other). When off, they’re independent. Toggle off for ping-pong delays where each side has a different time.

Mode — Delay routing mode:

• Stereo — independent L and R delays (uses delay_l/delay_r independently).
• PingPong — alternating L→R→L→R bouncing pattern with feedback.
• Mono — delays both channels with the same time (regardless of sync state).

About Delay (Native)

Native Delay is K2K’s full-featured stereo delay — two delay lines (L/R), independent or synced, with feedback, filtering inside the feedback path, stereo width control, and routing options (Stereo / PingPong / Mono). Use it as the workhorse delay for music production: clean stereo delays for vocals and guitars, ping-pong delays for synth leads, dubby filtered delays with high lowpass damping, slap-back at low feedback. The filtering inside the feedback path (lowpass, highpass) is what gives the delay character — set the lowpass low for vintage warmth, leave it open for clean digital character. Compare with MultiTap Delay (manual per-tap control) for more rhythmic/polyrhythmic patterns, and Matrix Delay for denser interconnected feedback character.

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