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maxpowersr wrote:
Thank you for that info. I never tried it because I assumed I had to have this hooked up in stereo to use ping pong mode. So if I put it in ping pong mode but only use 1 in and 1 out, it will be a series delay? 

Brock, while I did not use your exact numbers, I did pick two long delay times that were separated by the golden ratio. I dialed a fair amount of feedback and added some low pass. This is whatI was looking for!

Thank you both again for taking the time to post.

  I usually run stereo, but I unplugged 1 input & 1 output to confirm.  Still series delays, and mixed to mono internally.  As for the Fibonacci series, I posted those numbers as a reference.  I’ve never been convinced that these ‘magical’ delay times have to be 100% spot-on to create a pleasing effect.  I go with what works.

  But I do like to plug them into different algorithms to take advantage of unique characteristics.  Vintage Delay for modulation, bit reduction & filtering, Digital Delay for delay splicing without pitch shifts, etc.  And Mod Delay when I need to fine-tune and emphasize the modulation with deep, complimentary waveforms:

h9controller wrote:
It’s not quite the same as Delay Length and Feedback in Diatonic.  Looking briefly at the code, I believe there is one feedback path that runs out of Delay B and Feeds into Delay A.  So neither delay has a unique feedback path.

This is also how I’m hearing it so I think that’s right.

  Now if I’d only pay attention to the Info tab documentation.  My reading & listening comprehension is usually a little better than that.  I like the fact that the feedback routings differ among the algorithms.  It presents a variety of configurations to exploit.  Thanks again for clarifying.

bodde wrote:
I didn’t know longer delay time were possible on the H9. Thanks!I sometimes I feel limited with the 3 seconds delay when I do my Frippish soundcapes. Having 6 seconds of delay is really nice! Although 16 seconds would be better smiley. That’s on my wish for the H9 (but is never going to happen because it is too much CPU I guess).

I have seem some videos of the Dig. Although I like the pedal I haven’t heard anything new on those videos. Wish Strymon would come with a more experimental delay pedal instead of something that can also be achieved with other delays that already on the market.

  I remember reading here how you you prefer delay-style looping over the equivalent in the Looper algorithm.  I understand that.  For me, I like to take advantage of what the Looper does give me to work with.  I’ve adapted my approach to set the overall ‘delay’ time and go into Dub mode with two footswitch taps.  Then MIDI takes over to shift pitch+time, reverse, punch in, etc.  48 seconds is pretty grainy, but I can live with 24 second quality (especially in a live context).  I seldom go through guitar amps anymore, so this is through a full-range stereo system.

  As for the experimental delays, I’m with you there.  But you & I are certainly in the minority in that market-driven scenario.  Anything that was truly ground-breaking would also have to cover down-to-earth presets and ease-of-use.  But I will add that I’d like to see any garden-variety pedal compete with unusual settings like this: