Delay types: tape, BBD, digital, ping-pong, multitap, slapback, throw

Overview

Time is only half of a delay: the other half is how the repeats sound. Every technology and every configuration has a character and a role in the mix.

Tape delay (tape echo)

• How it works: a tape loop passes in front of a record head and one or more playback heads; the time depends on the distance between heads and on the speed. References: Echoplex (1959, time varied by moving the head), Roland Space Echo RE-201 (mid-1970s, multiple playback heads and spring reverb), Binson Echorec (magnetic drum), Watkins Copicat.
• Character: repeats that lose highs on every pass, soft saturation, wow and flutter (oscillating pitch), noise. Changing the time while the delay is running makes the pitch glide (the "tape" effect in dub).
• Uses: vocals (soul, rock, indie), guitars, dub and reggae (high feedback and self-oscillation), vintage synths and pads.
• Plugins: Arturia Delay Tape-201, UAD Galaxy Tape Echo (RE-201), Soundtoys EchoBoy (Space Echo, Echoplex styles), Valhalla Delay (Tape mode), Waves Abbey Road Reel ADT/J37 Tape Delay. In FL: Fruity Delay 3 with modulation on Time (rate 0.3–2 Hz, low depth), LP filter in the feedback (3–5 kHz), Feedback Distortion Sat and Smoothing (with Keep Pitch off) for the pitch glide when you move the time.

BBD (Bucket Brigade Device, analog)

• How it works: a chain of capacitors passes the analog sample from one stage to the next like buckets of water; developed by Philips in 1969. References: Electro-Harmonix Memory Man (1976), Boss DM-2 (1981), Roland Dimension and synth choruses (same technology).
• Character: dark repeats (bandwidth limited by the internal anti-aliasing filters), a bit of noise and "grit", warm modulation. Maximum times are usually 300–600 ms.
• Uses: guitars, synths, lo-fi vocals, chorus and flanger.
• Plugins: Arturia Delay Memory-Brigade, Soundtoys EchoBoy (BBD styles), Valhalla Delay (BBD), Universal Audio Brigade, TAL-Dub-X. In FL: Fruity Delay 3 with LP in the feedback at 2–4 kHz, light modulation, Bits/Samp Rate for a touch of grit.

Digital

• How it works: samples the signal into a buffer and plays it back after the set time. References: 1980s rack delays (Lexicon PCM 42, TC 2290), Boss DD-2 (1984, the first digital pedal).
• Character: clean repeats identical to the original (if unfiltered), long times, precision, no noise.
• Uses: modern pop, EDM, precise rhythms, long ambient delays (also with filters and modulation to make them less intrusive).
• Plugins: Fruity Delay 3 (with filters off), FabFilter Timeless 3, Waves H-Delay, Valhalla Delay (Digital), Ableton Echo/Delay.

Ping-pong

• How it works: the repeats alternate left and right. Variations: starting from one side (offset), ping-pong with different L/R times (e.g. 1/8 on the left, 1/4 on the right).
• Uses: plucks, leads, guitars, ad-libs, effects; creates width and movement without covering the center.
• Setting: 1/8 or 3/16, feedback 25–40%, HP 200–300 Hz, level −10/−15 dB.
• In FL: Fruity Delay 3, Ping Pong model; Stereo Spread for width.
• Caution: in mono, ping-pong becomes a normal delay: check that it isn't too loud when summed.

Multitap

• How it works: several "heads" read from the same buffer at different times, each with its own level, pan and sometimes filter. It can create rhythmic patterns (1/16, dotted 1/8, 1/4…) or, with many closely spaced heads, reverb-like textures.
• Uses: rhythms on guitars and synths ("The Edge" style), transition effects, patterns on percussion.
• Plugins: Fruity Delay Bank (FL, multiple delays with filters and routing), Multiband Delay (FL, 16 bands with time, volume and pan per band: different delays per frequency, resonance effects with Harmonic Scale), Soundtoys PrimalTap and EchoBoy (Rhythm mode), Valhalla Delay (multi-head mode), Waves SuperTap.

Slapback

• How it works: a single short repeat (about 60–150 ms, up to 250 ms) with feedback 0–10%. Made famous by Sam Phillips at Sun Studios on Elvis Presley (1950s), achieved with the tape recorder.
• Character: doubles and adds presence, a vintage "room" without reverb.
• Uses: rockabilly, country, rock and indie vocals, rap vocals (very light slap 80–120 ms), guitars, snare.
• Setting: 90–130 ms (or 1/16–1/32 in time), feedback 0–5%, LP 4–6 kHz, level −8/−14 dB, mono or slightly off center.

Throw (delay throw)

• How it works: not a type of machine but a technique: you send only one word, a syllable or a hit to the delay (the last word of a phrase, an ad-lib, a snare) and the repeats fill the following gap.
• How to do it in FL: automate the send knob toward the delay track (automation clip on the send, or Fruity Send with automated volume), or duplicate the word's clip onto a separate track sent only to the delay. 1/4 or 1/2 delay, feedback 30–50%, filters and often a reverb after the delay.
• Uses: pop, hip hop, trap, R&B, reggae (dub throw on snare and vocal), EDM (end of build-up).

Other short times

• Doubling: 30–50 ms with light modulation: a "doubled" vocal or guitar (ADT). Below 30 ms you enter Haas/flanger/chorus territory.
• Haas: 1–35 ms on one side only: widens (see the "Haas effect" guide).

Quick comparison

Common mistakes

• Clean, loud digital delays under the vocal: they compete; filter them or use a tape/BBD.
• Slap too long (over 150–200 ms) at fast tempos: it sounds like an out-of-time echo.
• Ping-pong too loud: in mono it doubles the level of the repeats.
• Throw without reverb or filters: a "pasted-on", dry sound.

How to hear it

• The same vocal with tape, BBD and digital at equal level: compare how far "behind" the repeats sit.
• Slap: start at 200 ms and go down to 90 ms: hear the echo turn into presence.