The master control. At zero the repeats are all the same sound getting quieter, like any other delay. As you turn it up, each repeat drifts further from the one before — higher, blurrier, more worn. It is the difference between an echo and a journey.

How long you wait for the first repeat. Short is a slapback that thickens a vocal; long is an echo you hear as a separate event. With Sync on, the knob still sweeps smoothly under your hand but the readout steps to whole note values.

Locks the repeats to your song's tempo so they land on the beat instead of wherever they happen to fall. On unless you want the delay drifting against the track on purpose.

Sets the right-hand repeats to a different speed from the left, locked to a musical ratio. This is the quickest way to make a delay sound wide and alive rather than like the same echo twice. At 3:2 the two sides pull against each other and only meet occasionally.

How much of each repeat is sent round again — so, how many you get. Low is one slap. High keeps going for a long time. Past about 85% it stops fading at all and starts to sustain, and it cannot run away: there is a limiter inside the loop holding it.

Repeats can play backwards. Forward is normal; Reverse turns them all around, so each one swells into its own attack; Palindrome alternates, some forwards and some back, on a repeating pattern.

How often the repeats turn around. Low is long stretches going one way before a slow turn. High flips constantly, and at the very top the turns stop being smooth and start being audible edits — which is the point.

Shifts each repeat up or down — and because it happens on every lap, it stacks. Set it to seven semitones and the repeats climb a fifth at a time, walking away up a staircase instead of sitting on one note.

Pushes the left and right repeats apart in pitch, one up and one down. A small amount is a gentle chorus; a large amount is two instruments playing the same part in different keys.

Smears a sharp sound into a whistle. Turn it right and the low frequencies arrive late, which is the sproing of a spring reverb; turn it left and the highs arrive late instead, a rising chirp. Past two-thirds either way the smear starts to ring on a pitch of its own.

Everything that happens to a tape machine as it gets worse, on one knob: the top end wears off, the pitch wobbles, dirt builds up and a noise floor creeps in. The noise stays off for the first eighth of the travel, so a little Age does not put hiss on a quiet track.

The colour of the repeats, as one tilt. Middle is a classic tape echo — warm, a little dark. Right opens it up and the repeats stay bright. Left closes it down until they sound like a transistor radio two rooms away.

How far the repeats travel from the middle. It starts by bouncing them between left and right, then widens the image, and in the last third the whole thing begins to drift around you rather than sitting still.

Chops the repeats into a rhythmic gate, locked to the delay time so it stays in step. It works on the output rather than inside the loop, so it never turns the tail to mush — it cuts it up cleanly.

A tape stop. The repeats slow down and drop in pitch as though someone put a thumb on the reel. It really does bend the pitch rather than just fading out, which is the difference between a tape stop and a volume fade.

Digital damage. The lower half of the knob coarsens the sound in steps, like an old sampler; the upper half throws away detail until the repeats are gritty and metallic. At zero it does nothing whatsoever.

Six extra taps at multiples of the delay time, each tuned to a note in a scale — an arpeggio built out of the echo itself. When Ladder is on, the ordinary pitch control stands down so the two are never fighting.

Which notes the Ladder is allowed to land on. Octaves is the safest and sits under almost anything; Chromatic will go outside the key on purpose.

The root note the Ladder's scale is measured from. Set it to the key of your track and the extra taps become part of the arrangement rather than a decoration sitting next to it.

Catches whatever is in the delay right now and holds it, ignoring anything new you play. The held loop does not fade — it will sit there for as long as you leave it.

How much delay you hear against the original. The Send bank presets are at 100%, which on a normal track means you hear only the echo — those are meant for an effects send, not a channel.

The level of everything leaving the plugin. Useful when a preset is hotter or quieter than the one before it and you want the comparison fair.

Shifts the right side a few milliseconds against the left, on top of Skew. A small nudge widens the image; past about twenty milliseconds your ear stops hearing width and starts hearing two separate hits.

What happens when the delay time changes while sound is in the loop. Digital re-times cleanly and quietly. Tape bends the pitch on the way, the way a machine does when it changes speed — usually the more musical of the two, and the reason automating Time is fun.

How long that change takes. Short is a snap to the new time; long is a slow slide you can hear as a swoop.

Whether a reversal is measured against the repeat before it or against the original sound. Relative lets the reversals stack, so two of them put you back the right way round. Absolute keeps referring to the source.

Pitch again, but in tiny amounts — for detuning rather than for intervals. A few cents per repeat is the slow sour drift of a tape machine that needs servicing.

How the pitch shift is done. Tape changes the speed, so the repeats move in pitch and in time together. Repitch holds the timing still and moves only the pitch. Slip is reserved for a future version and currently behaves as Repitch.

Makes the filter ring at its corner, so the repeats acquire a pitch of their own that was not in what you played. A little adds focus; a lot turns the tail into a note.

Extra playback heads, like a multi-head tape echo. Heads two and three are taps inside the delay time rather than extra repeats, so switching them on gives you three hits per repeat instead of three times as many repeats.

Blurs the repeats into each other. Low keeps them countable, so you hear individual echoes. High turns them into a wash where you stop being able to pick out where one ends and the next begins.