k2k audio Echoes and repetitions. Throw your sound against walls near and far — control the distance, the decay, and what gets absorbed on each bounce.
Native Delay
What it does — A stereo delay with filtered feedback, tempo sync, and LFO modulation that bounces sound between left and right channels.
When you’d reach for it — You want a straightforward echo on a vocal or a lead synth, and you need it to sit in the mix without building up mud. Works equally well for a tight slap-back on a snare or a wide ambient wash behind pads.
Quick example
- Connect your source into Native Delay.
- Set Mode to Ping-Pong and Delay L to 250 ms.
- Turn on Link L/R so both sides match.
- Pull Lowpass down to 4000 Hz so each repeat gets darker.
- Set Feedback to 0.50 and Dry/Wet to 0.45 — the echoes trail off naturally without crowding the original.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Delay L | Left channel delay time | 1 — 2000 ms | 200—400 ms for rhythmic echoes |
| Delay R | Right channel delay time | 1 — 2000 ms | Offset from L by 50—100 ms for width |
| Link L/R | Locks right time to left | On / Off | On for simple echoes, off for stereo spread |
| Feedback | How much signal feeds back into the delay | 0.00 — 0.95 | 0.30—0.50 for musical trails |
| Lowpass | Cuts highs from each repeat | 200 — 20 000 Hz | 3000—6000 Hz for analog-style darkening |
| Highpass | Cuts lows from each repeat | 20 — 2000 Hz | 100—200 Hz to keep repeats from getting boomy |
| Crossfeed | Bleeds left channel into right and vice versa | 0.00 — 1.00 | Small amounts (0.10—0.25) for subtle smearing |
| Cross Feedback | Controls how ping-pong bounces interact | 0.00 — 1.00 | 0.50—0.70 for classic ping-pong feel |
| Width | Stereo spread of the wet signal (Stereo mode) | 0.00 — 2.00 | 1.0 is natural; push to 1.5+ for exaggerated width |
| Spread | Left-right bounce amount (Ping-Pong mode) | 0.00 — 1.00 | Higher values widen the ping-pong arc |
| Mode | Mono, Stereo, or Ping-Pong routing | 3 options | Ping-Pong for movement, Stereo for depth |
| Sync | Locks delay time to project tempo | On / Off | On when echoes need to land on the beat |
| Subdivision L | Beat division for left channel when synced | Multiple options | Dotted eighth for that classic rhythmic bounce |
| Subdivision R | Beat division for right channel when synced | Multiple options | Quarter note opposite a dotted eighth opens up space |
| Mod Rate | Speed of the internal LFO | 0.00 — 10.00 Hz | 0.15—0.5 Hz for gentle movement |
| Mod Depth | How much the LFO wobbles the delay time | 0.00 — 20.00 ms | 1—3 ms for subtle chorus-like warmth |
| Interpolation | Smoothing method for modulated delay time | Linear / Cubic | Cubic for cleaner pitch artifacts |
| Dry/Wet | Balance between original and delayed signal | 0.00 — 1.00 | 0.30—0.50 keeps the source up front |
Multi-Tap Delay
What it does — Up to 8 independent delay taps, each with its own time, volume, and stereo position, building rhythmic patterns from a single source.
When you’d reach for it — You hear a specific rhythmic delay pattern in your head — maybe three quick taps panned hard left, then a quiet ghost tap on the right. Standard delays can not do that. This one can.
Quick example
- Connect your source into Multi-Tap Delay.
- Add a first tap at 125 ms, 0 dB, centered.
- Add a second tap at 250 ms, -6 dB, panned 60% left.
- Add a third tap at 375 ms, -12 dB, panned 60% right.
- Set Feedback to 0.20 and Mix to 0.40 — you get a bouncing triplet that fades across the stereo field.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Tap Count | Number of active taps (up to 8) | 0 — 8 | 3—5 taps for rhythmic complexity without clutter |
| Tap Time | Delay time for each individual tap | 1 — 2000 ms | Space taps evenly or in dotted patterns |
| Tap Gain | Volume of each individual tap | -60 — +6 dB | Fade later taps by -3 to -6 dB per step |
| Tap Pan | Stereo position of each individual tap | -100 — +100 (L to R) | Alternate left/right for ping-pong-style movement |
| Feedback | Global feedback applied to all taps | 0.00 — 0.95 | 0.15—0.30 keeps things from getting messy |
| Mix | Balance between original and tapped signal | 0.00 — 1.00 | 0.30—0.50 for rhythmic interest that doesn’t overpower |
Matrix Delay
What it does — Splits your signal into 4 frequency bands, runs each through 4 geometrically-spaced delay taps, and lets you control exactly how much of each band reaches each tap through a 4x4 gain matrix.
When you’d reach for it — You want delays that behave differently across the frequency spectrum. Maybe the low end echoes slowly and darkly while the highs scatter into bright, fast reflections. This is where simple delays stop and sound design begins.
Quick example
- Connect your source into Matrix Delay.
- Set Delay Base to 200 ms and Delay Ratio to 1.618 (golden ratio spacing).
- In the 4x4 matrix, boost the low-band / long-tap cell and the high-band / short-tap cell.
- Push Scatter to 0.30 so the taps drift slightly off their geometric grid.
- Set Feedback to 0.40 and Wet/Dry to 0.50 — lows rumble slowly while highs sparkle fast.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Delay Base | Time of the first (shortest) tap | 1 — 2000 ms | 100—300 ms as a starting point |
| Delay Ratio | Multiplier between consecutive taps | 0.50 — 4.00 | 1.618 (golden ratio) for natural spacing; 2.0 for octave-like doublings |
| Feedback | Global feedback amount | 0.00 — 0.95 | 0.25—0.45 for evolving trails |
| Tone | Tilt EQ on the feedback path | -1.00 — 1.00 | Negative values darken repeats, positive brightens |
| Shimmer | Adds pitched octave content to the feedback loop | 0.00 — 0.50 | 0.05—0.15 for a hint of sparkle |
| Rotate | Rotates the gain matrix around its center | 0 — 360 degrees | Automate slowly for evolving delay textures |
| Tilt | Tilts the matrix diagonally (shifts band-to-tap routing) | -1.00 — 1.00 | Subtle values (-0.3 to 0.3) shift the spectral balance of the delays |
| Scatter | Randomizes tap timing away from the geometric grid | 0.00 — 1.00 | 0.15—0.35 for organic imperfection |
| Sparsity | Thins out the matrix by zeroing weaker cells | 0.00 — 1.00 | 0.30—0.60 to focus on dominant band/tap combos |
| Gain Matrix | 4x4 grid controlling how much of each frequency band feeds each tap | Per cell | Diagonal = each band feeds its own tap; off-diagonal = cross-band routing |
| Wet/Dry | Balance between original and processed signal | 0.00 — 1.00 | 0.40—0.60 for full effect presence |