Soundtoys EchoBoy - Manual (Page 5)

I N T R O
THANKS!
First off we want to say a big THANK YOU for your purchase of Echo Boy.
We know there are an awful lot of plug-ins for you to choose from and we are truly grateful that
you have chosen to spend your hard earned scratch (old school for cash) on our product. We
take a lot of pride in our work and we sincerely hope that you find EchoBoy inspirational and
musically useful.
We’d also like to thank all the people that helped in the development of EchoBoy and the whole
new SoundToys line of plug-ins:
Wendy Letven for her amazing design work on the SoundToys logo, all the SoundToys
packaging, and much more.
Andrew Schlesinger for all of his help from the very start of the SoundToys concept from
product names, design ideas, and presets, to his witty and useful contributions to this user
guide and other sage advice.
––– The SoundToys Crew
A Delayed History and EchoBoy
So why EchoBoy? Simple – delay and echo are the oldest and most commonly used effects in
the history of modern recording. Think about that classic double tracked effect on Elvis’ voice,
the slap echo in 60’s surf music, those cheesy 50’s sci-fi movie sound tracks, Pink Floyd, The
Beatles etc. They all used delay and echo extensively, as has most of the music recorded in the
last 30 or 40 years.
Echo and delay effects are truly essential to the modern music maker. In the early days all
delay effects were based on some type of tape delay. Studios would often have a number of top
quality tape machines attached to variable speed controls to be used as a delay device. The
signal was fed to the input of the machine and the output of the tape was monitored off the
playback head. The space between the record head and the playback head along with the speed
of the tape determined the delay time.