Audio Damage Ronin - Manual (Page 13)

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you adjust the time slider, you will see that the delay time is show in metrical units. Delay times are
expressed as fractions of a beat, with the assumption that a beat is one quarter of a measure, at the current
tempo of your VST sequencer. Dotted times are represented with the addition of a period (.) in the display,
and triplets are represented by a capital T. For example, a sixteenth-note triplet is shown as 1/16 T in the
display.
The fine slider is not affected by the sync switch and the VST host’s tempo. Its value is still applied after the
delay time is determined by the setting of the time slider, the multiplier switches, and the current tempo. This
means that you can nudge the delay time a little shorter or a little longer than the precise metrical time shown
beneath the slider, so that your delayed audio sits in the groove of your song. This also means that in order
for the value shown in the display to be correct, you must set the time fine slider to its default center position,
so that its value is 1.0. (Most VST hosts let you set a control to its default value by holding down the
CTRL key
on your keyboard as you click the control.)
Remember that the two delay modules operate entirely independently, and have independent sync switches.
This can be handy if you want to use one delay for tempo-based delay effects while using the other for short
delay effects such as doubling, chorusing or flanging. For these effects you should set the sync switch to off
since they depend upon short delay times which have no relationship to your song’s tempo. (Of course,
sweeping the delay time of a flanger in sync with your song’s tempo can be a cool effect, which you can
achieve by using Ronin’s LFOs to modulate the delay time, with the LFO’s sync switch turned on. See the
section on LFOs for more information.)
The Feedback slider controls the level of the signal that is fed into the delay line. The delay line has two
inputs: a main input, which has no level-control slider, and a feedback input which has the Feedback level-
control slider. Unlike most hardware and software delay processors, the feedback input is not directly
connected to the output of the delay line. You can connect any signal to the feedback input, using Ronin’s
signal switching matrix (described later in this manual). This means that you can connect other modules in the
feedback path of delay, such as a filter to make the delayed signal change in timbre as it circulates through
the delay. You can also connect the output of one delay module to the feedback input of the other, and vice-
versa, to create “ping-pong delay” effects that bounce the signal back and forth in the stereo field. Note,
however, that you must connect the feedback input to something with the signal matrix before you’ll hear
anything happen when you turn up the feedback level slider.
The Loop switch makes the delay act as a real-time loop recorder. When you turn on the Loop switch, any
signal that is currently in the delay line will play over and over again, indefinitely (or rather, until you turn off
the Loop switch, turn off the power to your computer, etc.). Any new signal that enters the input of the delay
is overdubbed onto the looped audio, building up layers of sound. You can use the delay time sliders to
change the length of the loop and its playback speed, altering the pitch of the looped audio.