[调制延迟效果器] DSPTone ExoDelay v1.0.2-SEnki [WiN]（18.6MB）

SEnki | 26 January 2026 | 18.6 MB

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调制延迟
从复古数字回声到现代不断演进的调制动态

融合了多个延迟时代的精髓，从紧致的复古回声到现代的音色质感
这款极具特色的调制延迟效果器，灵感源自 20 世纪 80 年代早期的数字延迟设计，并针对现代制作进行了重新构思

——复古数字延迟音色；
带有动态闪避的调制回声；
经典范围 + 现代三重延迟模式。

与 BBD 不同，早期的数字延迟效果器提供：
清晰的重复音/稳定的延迟时间/调制功能。

然而，当时的内存成本高昂，带宽也有限。每一代数字延迟效果器都有其独特的特性——由延迟时间限制、滤波、本底噪声和调制特性决定。一些效果​​器专注于短促的、类似合唱效果的延迟。另一些则以牺牲带宽为代价来延长延迟时间。后来的设计进一步提升了清晰度和范围。

数字延迟至今依然重要
这款效果器的灵感源自 20 世纪 80 年代的 Ibanez™ 单块效果器（DML、DML10 和 DML20）。作为早期数字延迟时代的标志性产品，

ExoDelay 捕捉了这一演变历程，提供多种延迟特性，每种特性都体现了那个时代不同的设计理念，并在此基础上扩展了现代化的路由和控制功能。

较短的延迟范围鼓励节奏演奏。
较窄的带宽更易于融入混音。
微妙的调制增添了动态感而不失平衡。饱和度和噪声营造出深度和临场感。

延迟模式灵感
源自吉他效果器延迟踏板

• DMOD：带宽较暗，特性更鲜明。节奏回声和经典的调制纹理。
• DMOD-10：音色更柔和，清晰度更均衡。旋律延迟和动态调制。
• DMOD-20：带宽较亮，重复更清晰。宽广的延迟和细腻的调制。
• MODERN TRI：将三个延迟合并为一个动态延迟线。营造氛围效果，节奏复杂。

可变时间范围，堪称杰作
根据模式自动扩展

每种延迟模式都包含自己的时间范围。您可以创建镶边、合唱、颤音、倍增、回弹和回声延迟线等效果。同步 – 在毫秒和节拍、三连音及附点音符时间同步值之间切换时间参数。

路由架构：
与其他延迟效果器原理相同，但增加了调制功能（LFO 改变延迟时间）

-> 输入级 -> 预加重级 -> 饱和级 -> 延迟级 -> 去加重级 -> 闪避级 -> 音调级 -> 干湿混合 -> 输出级。

噪声、扩展、宽度和再生时间范围均为杰作。
我们采用注入噪声的复古芯片构建而成，这些芯片具有饱和且带宽受限的特性。加重和去加重级也是设备架构的一部分。噪声可以增加感知上的动态感，增强深度错觉，并使反馈听起来更生动。扩展旋钮可以调整立体声宽度，并添加镶边效果。再生旋钮可以设置反馈到延迟级的延迟信号量。

附加控制
自动增益：调整饱和级的输出电平以匹配输入电平。
闪避幅度：效果信号的电平衰减量。闪避效果的持续时间由延迟时间旋钮控制。
闪避形状：控制闪避响应的平滑度或锐利度。

乐器处理用途
吉他：节奏延迟。调制主音。干净的环境纹理。
贝斯：带闪避的短延迟。用于增加宽度的微妙调制。
合成器：动态回声。立体声动态。声音设计层次。
人声：节奏同步延迟。闪避以增强清晰度。暗色调设置
– 鼓和打击乐器：拍击回声。立体声节奏延迟。可控反馈纹理

MODULATION DELAY
From vintage digital echoes to modern evolving modulation motion

Several delay eras combined into one, from tight vintage echoes to modern textures
Characterful modulation delay inspired by early digital delay designs of the 1980s and reimagined for modern production

– Vintage digital delay character.
– Modulated echoes with dynamic ducking.
– Classic ranges + modern triple delay mode

Unlike BBD, early digital units offer:
Clear repeats / Stable delay time / Modulation

However, memory was expensive and bandwidth was limited. Each generation of digital delay had its own distinct character — defined by delay time limits, filtering, noise floor, and modulation behavior. Some units focused on short, chorus-like delays. Others expanded delay time at the cost of bandwidth. Later designs pushed clarity and range further.

Digital Delay Still Matter Today
We inspired in this effect by Ibanez™ pedals (DML, DML10 & DML20) from 1980th. As well-known part of the early digital delay era *

ExoDelay captures this evolution by offering multiple delay characters, each reflecting a different design philosophy from that era — and then extends them with modern routing and control.

Shorter delay ranges encourage rhythmic playing.
Narrower bandwidth sits better in a mix.
Subtle modulation adds movement without chaos. Saturation and noise create depth and presence

DELAY MODES
Inspired by guitar fx delay pedals

• DMOD: darker bandwidth & stronger character. Rhythmic echoes and classic modulation textures.
• DMOD-10: smoother tone & balanced clarity. Melodic delays and evolving modulation
• DMOD-20: brighter bandwidth & cleaner repeats. Spacious delays and detailed modulation
• MODERN TRI: x3 Delays into one evolving delay line. Ambient effects, rhythmic complexity design

Variable time range as masterpiece
Extended automatically depending on mode

Each Delay mode includes own time range. You can create effects like flanger, chorus, vibrato, doubling, snapback and echo delay lines. Sync – switching Time parameter between Milliseconds and Beats, Triplets & Dotted time-synced values.

ROUTING ARCHITECTURE
Same principles as other delays, but with added feature of modulation (LFO changes the delay time)

-> Input stage -> Pre-Emphasis stage -> Saturation stage -> Delay stage -> De-Emphasis stage -> Ducking stage -> Tone stage -> Dry & Wet Mix -> Output stage

Noise, Spread, Width & Regen time range as masterpiece
We build it with noise injection of vintage chips with saturated and bandwidth limited character. Emphasis & De-emphasis stages is also part of the device architecture. Noise adds perceived motion, improve depth illusion, makes feedback feel alive. Spread adjusts the stereo width, adds flanger effect. Regen set the amount of delayed signal fed back into the delay stage

ADDITIONAL CONTROL
AUTOGAIN: Adjusts the output level of the saturation stage to match the input level.
DUCK AMT: Amount of level reduction on the effect signal. Duration of the ducking effect controlling by the delay TIME knob.
DUCK SHAPE: Controls how smooth or sharp the ducking response is

USE FOR INSTRUMENTS PROCESSING
– GUITAR: Rhythmic delays. Modulated leads. Clean ambient textures
– BASS: Short delays with ducking. Subtle modulation for width
– SYNTHS: Animated echoes. Stereo movement. Sound design layers
– VOCALS: Tempo-synced delays. Ducking for clarity. Darker Tone settings
– DRUMS & PERC: Slapback echoes. Stereo rhythmic delays. Controlled feedback textures

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