VST 4 FREE - Free Audio Plug-ins and Archives. Multi-tap delay. Win32 Win64 OSX VST Developed. Scorpion Multitap. Semi-modular delay. Size 1.2 MB / 2 MB / 7.3 MB RhythmDelayFree is a multi-tap delay. It is an effector designed to create musical rhythms. Perfect for making minimal music. 8 Multi-Tap Delay. Readelay is a free delay plugin that comes as part of the ReaPlugs VST FX Suite. Don’t worry, this collection of plugins can be used in any DAW (not just Reaper), but Readelay must be downloaded with the entire suite. The plugin is very versatile, and contains a lot of creative possibilities within the various delay parameters. Audiority Deleight - Resizeable Stereo Multi Tap Delay - VST/AU/AAX We are happy to introduce to you our newest effect plugin: Deleight Deleight is a stereo multi tap delay processor based on late ’90s digital delays hardware processors.

• DAWs >Cubase

A little bit of creative MultiTap Delay can turn even the most basic of drum patterns into something groovy.

Looking for creative inspiration? Tap into Cubase's new MultiTap Delay..

Steinberg have seriously improved Cubase's stock plug-in collection in recent years, and among the new options for Pro and Artist users in v10.5 is the modestly named MultiTap Delay. It offers emulations of both modern and vintage delays, up to eight taps (repeats), and very flexible configuration and modulation options. I'll provide a very brief overview of the key features before illustrating some options via a specific example: spicing up a drum part to generate new rhythmic ideas.

MultiTap Delay's GUI is split into three sections. The central portion, with larger knobs and graphic display, is where you configure the number of taps, their relative timing, level and pan, feedback, and other settings that fine-tune the balance between the original and processed signals. Above this, in the Character Panel, you choose between four styles of delay (Digital Modern, Digital Vintage, Tape and Crazy) or pop open the full panel for more detailed adjustments to 'colour' the broad sonic character of the repeats. The options range from pristine, through lo-fi vintage/tape effects, to special effects territory. The bottom strip contains three more pop-open panels (Loop, Tap and Post) which focus on additional effects that can be applied to your delay line. Each provides a six-slot effects chain and there are 14 different effect types available. The three panels differ in terms of where their processing occurs in the signal path, with effects placeable in the effects loop, on individual taps or at the plug-in's main output. The effects include various modulation choices, filtering, pitch-shifting, panning, reverb and, as if eight taps with feedback weren't enough, an additional delay.

Fun With A Drum

For all the potential trickery, this is also a really good, all-purpose, delay plug-in — but its more creative aspects make it stand out from the crowd. So let me take you through a fun exercise with a drum sound.

Our starting point is a simple four-bar Groove Agent acoustic tom pattern, with an instance of MultiTap Delay inserted on the GA Instrument Track. You could use the delay as a send effect, but for the automation options described below the Insert route is easier to configure, so I've done that here and set the delay plug-in's Mix control to 40 percent. I chose the Tape Character preset and tweaked the settings from there (more Saturation and picking the half-sample-rate setting), and added a touch of Overdrive in the Loop Effects panel for extra crunch. This combination means that, as well as adding rhythmic interest, MultiTap Delay will vary the sonic texture with each repeat.

While I've only used a touch of overdrive in my example, MultiTap Delay's effects options provide plenty of interesting possibilities.

In the main panel, I've configured three taps with slightly decreasing volumes, and adjusted the Feedback to taste (30 percent) so the pattern of repeats is fed back to the delay line but (in this case) at a relatively low level. You can manually edit the position, level and pan of each tap or, via the Tap Rhythm button, position the taps by playing the rhythm that you require. Tap positions can be snapped to a grid resolution or moved without a grid. You also have Quantize and Randomise options (the latter is fun for a 'lucky dip' approach!). However, the key thing to understand is that the Delay setting determines the length of the tap grid. In this example, I've engaged the Sync option and set Delay to 1/1, so the tap grid represents one bar of time. A Decay setting of 2/1 makes the tap grid two bars in length, gives half a bar, and so on. Once you've grasped this, the logic behind laying out a pattern of taps becomes clear. (Without Sync engaged, Delay is set in milliseconds, but the same principle applies.)

Finally, I've engaged the clever Ducker controls — the repeats are ducked (in this case, their volume is lowered by 50 percent) whenever there's a signal at the input to the plug-in. This can be used to duck both the feedback and the delay line, and ensures that your original sound doesn't get masked by the repeats.

For all the potential trickery, this is also a really good, all-purpose, delay plug-in — but its more creative aspects make it stand out from the crowd.

Tap Tweaker

As the audio examples at the end of this article show, we now have something more rhythmically interesting than our original drum pattern. Depending on the musical context this might be all you require, but if you're looking for more complexity, or to add variations during the performance, we can do plenty more.

As you adjust the Taps control, your additional taps do not have to appear sequentially along the grid timeline.

Effects aside, the two simplest tactics are (a) to add more taps and (b) to adjust the Feedback level. As it's super-easy to assign both the Taps and Feedback controls to the Track Quick Control system (right-click on the control to access the pop-up menu), automating both is a great way to change the intensity of the delay processing on the fly. Adjusting the Feedback level is straightforward, but for the Taps control you'll need to pre-configure each additional tap (position, level, pan, etc). It's worth noting that while you're allowed up to eight taps, and each is assigned a number, their position along the grid's timeline doesn't have to be numerically sequential — tap 7 can be positioned before tap 3, for example — so, as you automate the Taps control, you can add repeats with shorter or longer delays, as you prefer.

Double Delay

Again, if you check out the audio examples, you should hear that our very basic drum pattern has been transformed into something much more interesting, and it's possible to vary the intensity of the 'performance' with some simple automation moves. But you don't have to stop there. Why not add a second instance of MultiTap Delay, so you have a second set of eight taps to exploit in your quest for rhythmic variation?

MultiTap Delay's parameters can easily be automated via the Track Quick Control system.

At this point, whether you use Insert (as here) or Send effects makes more of a difference. With Inserts, the repeats created by the first instance of MultiTap Delay become the inputs to the second instance and are then subject to processing; things can get quite busy very quickly! However, if you use two Send-based instances of MultiTap Delay, they're independent of each other; both are fed directly by your source track. On the flip side, real-time automation of your two MultiTap Delay instances is much easier when both are used as Inserts on the same track; you can use one set of Track Quick Controls to change the settings for both plug-ins. Real-time control is trickier to do with two independent Send effects.

Anyway, as a starting point for this 'double delay' effect (heard in the final audio example), I've configured two instances of MultiTap Delay as Inserts on my Groove Agent track, using the same simple drum part. To make this easy to replicate, on the first instance I selected the Alt Beat Counterpart preset, while on the second I used Snare Trap Groover. I then set the Feedback, Taps and Mix controls for both instances as Track Quick Controls. The Feedback and Taps controls can be used as before (although lower settings, especially of the Feedback controls, are best unless you want things to get really trippy). However, the two Mix controls are well worth playing with, as they allow you to blend the two delay lines or, by turning either Mix control to zero, effectively remove the delay processing of one plug-in or the other.

I've only really scratched the surface of what's possible with MultiTap Delay and, bar a little overdrive, not even started on the creative options provided by the various effect panels. Perhaps I'll explore that side of things in more depth another time!

MultiTap Delay: Audio Examples

Cubase_0520_Audio_Example1.mp3

The original super-simple four-bar drum pattern, looped a few times and based on some acoustic tom sounds from Groove Agent.

Cubase_0520_Audio_Example2.mp3

The same loop processed through MultiTap Delay, used as an insert effect on the Groove Agent track, with the settings shown in the main screenshot in the article.

Cubase_0520_Audio_Example3.mp3

The same loop processed through MultiTap Delay with more taps. Both the Taps and Feedback controls are automated to add complexity and variety.

Cubase_0520_Audio_Example4.mp3

The same loop processed through two instances of MultiTap Delay, as described in the final section of the article, and with the Taps, Feedback and Mix controls of both plug-in instances automated.

• DAWs >Pro Tools

Pro Tools 8 comes bundled with a new suite of AIR plug‑ins, some of which are more powerful than they appear. We expose their hidden depths.. Vst plugins.

When Pro Tools 8 was launched, it contained so many changes and new features that one of its most valuable additions has perhaps not had the attention it deserved. I'm talking about the suite of 20 plug‑ins from Digidesign's Advanced Instrument Research group. These were developed as built‑in effects for instrument plug‑ins such as Velvet and Strike, but are now included free with Pro Tools as RTAS plug‑ins we can all enjoy without having to use (or buy!) any of these instruments. For this month's workshop, then, I'm going to turn the spotlight onto some of these new AIR plug‑ins and, in particular, at applications for them that aren't obvious or well documented.

Delay Vst Free

Distort & Enhance

Distortion is a generic plug‑in that offers a variety of flavours of distortion. We are all used to using distortion effects on guitars and some keyboard patches to give them more 'bite' in a mix, but what's less obvious is that this plug‑in is great for fattening up drum sounds.Distortion: not just for guitars! In the presets menu are two patches called 'Fat Bassdrum' and 'Fat Snaredrum', which really do live up to their names! With reasonable amounts of drive, they are great for thickening an anaemic drum sound, and for more extreme effects, try turning the drive right up. You can end up with the kick drum sounding like a distorted bass guitar, producing distinct notes with different pitches, depending on how hard the drummer has hit the pedal.

Lo‑Fi is another generic plug‑inLo‑Fi is a great tool for teaching the basics of digital audio., although the new AIR version is different from the familiar Digidesign Lo‑Fi plug‑in of yore. I don't use this plug‑in as it was designed — as you will know if you read this column regularly, I am not actually a fan of distortion — but it is brilliant in an educational context for demonstrating to students the effects of reducing sample rate and bit depth, and of not having anti‑aliasing filters.

The AIR EnhancerTo avoid harshness, try using the Enhancer plug‑in with a high setting for High Gain and a low Depth. is similar in function to the classic Aphex Aural Exciter, generating new high‑frequency harmonics to brighten a dull source sound. Unlike conventional EQ, this type of plug‑in can brighten sounds that have relatively little high‑frequency content in the first place. Although there are Low Gain and High Gain controls, I don't use the former much, except occasionally to warm up a vocal: to my ears it is just a low‑frequency shelving EQ, and doesn't seem to generate harmonics (the manual is very vague on this). Be careful tweaking the High Gain, as, depending on the settings of the other controls, you can end up creating lots of harmonics in a relatively narrow band. If, like me, you want to be able to broaden the effect to help brighten the source signal over a wider range of frequencies, try raising the High Gain almost to maximum but keeping the Depth control well down. I find that I now get on much better with this little plug‑in than I do with the official Aphex plug‑in, but be aware that some of the factory presets are a little over the top: they give you a good start, though, and once you have backed them off a bit, they work well. Do remember that this is a 'distortion' plug‑in, so if you overdo it, things will just sound distorted rather than enhanced.

Get Your Ducks In A Row

Dynamic Delay is made special by the built‑in envelope follower, which can be used to generate ducking effects.

The new Dynamic Delay is a very interesting plug‑in with a lot of potential. At heart, it's a delay that can be sync'ed up to the session tempo — nothing unusual in that — but what makes this plug‑in different is the inclusion of an envelope follower that can shape or duck the delay output. To get a handle on how this works in practice, try 'Repeat Last Bar' in the list of presets. This uses a long delay to repeat each bar, but the output is 'ducked' under the input signal and only emerges when the vocal (or whatever) stops. The result is that you get the complete last bar repeated at the end of each vocal phrase. Doing this using a conventional delay effect requires painstaking automation of the delay send.

There is a nice little GUI feature of this plug‑in, such that when it's set to sync to host tempo, the Delay control becomes calibrated in musical intervals, from 8/4 (two bars) down to a 16th note (semiquaver). This makes it so much easier to set up a rhythmic delay. There is also an L/R ratio control, which allows you to adjust the ratio between the delay in the left and right channels. Obviously 100:50 means that the delay in the left channel is twice as long as the delay in the right channel, but you don't have to stick to precise multiples, so you can set it anywhere from 100:50 to 50:50 (the same delay in both channels), through to 50:100.

The envelope-follower controls warrant further explanation, because, once understood, they really become the powerhouse of this plug‑in. Initially, I thought the Rate control adjusted an LFO, as it does in the older Digidesign delay plug‑ins, but it is actually more like an attack control in a dynamics processor. Its function is to set how quickly the other two controls in the envelope modulation section, Feedback and Mix, respond to input from the envelope follower. You can dynamically adjust the amount of feedback within the plug‑in by using the Fbk control in this section, which determines the influence of the envelope follower over the feedback level. Likewise, the Mix control determines how the envelope follower influences the overall wet/dry mix: at zero, the envelope follower has no control, while positive values mean that the envelope follower increases the wet/dry ratio and negative values decrease it.

Multi Tap Delay Vst Free Trial

This is how the 'Repeat Last Bar' preset works: a negative Mix setting means that the envelope follower will push the wet/dry mix over to dry while there is a signal passing through the plug‑in. Once the signal has stopped (as in the end of a vocal line), there is no signal from the envelope follower and so the wet/dry mix goes wet and we hear the last phrase repeated.

Multi‑Delay

Multi‑Delay: more than just a multi‑tap delay..

Multi Tap Delay Vst Free Download

The second AIR delay plug‑in is different from many other multi‑tap delay plug‑ins, in that it has 'From' and 'To' controls. Used with the Feedback control, these enable very complex repeats to be set up.

When you start working with this plug‑in, you might find it takes a while to get used to how the delays are displayed: when sync is active, the amount of delay is shown in multiples of 16th notes. For instance, '1.00/6' represents a semiquaver delay, while '16.00/16' is a semibreve or a full bar in 4/4 time. With sync off, delay is displayed in seconds and milliseconds; up to four seconds' delay is available.

There are five delay lines, each with its own delay time, level and pan settings. This alone makes Multi‑Delay pretty flexible, but the key to its uniqueness lies in the From and To controls. These make it possible to feed the output of one of the five delay lines into the input of one of the others, or back into the plug‑in's input stage so it feeds back into all the delays.

Free Tape Delay Vst

For example, if you had Tap 1 set to a crotchet (quarter‑note) repeat and Tap 2 set to a semiquaver (half‑note) repeat, you could set the From control to pick up the output from Tap 1 and the To control to the input of Tap 2, so that the delayed output from Tap 1 has a semiquaver echo added to it. This is a simple example, and obviously you can set up much more complex sequences, especially when you route back to the global input. However, you do need to be aware that if the delay time of the To tap is greater than that of the From tap, you will get a 'feed forward' scenario rather than feedback, resulting in only one repeat.

Free Stereo Delay Vst

I wish Digidesign had added a feedback control for each tap, but even so, this plug‑in has got loads of potential. For instance, rather than using a stereo delay, try using a mono delay and either lay it on top of its source in the stereo image, or pan it the other way for a 'separation' effect. Or, for even more complex sounds, try pairing this plug‑in with a modulation plug‑in either before or after — or what about one of the distortion effects? There really is no end to the possibilities on offer.

Next month, we'll complete our look at the AIR plug‑ins with hot tips on some of the new modulation effects.

Reverse Delay Vst