You could use 1 unit in tape mode, with delays set to, say, 400 and 600 mSeconds:
-Feedback between 40 and 80 % with Saturation maxed so the repeats get progressively “deconstructed”. Saturation goes from 0 to 10. The difference between 9 and 10 is really big.
If you need yet more saturation, set the input gain of the H9 higher (system mode in the pedal, or pedal settings in the editor). The pedal will compensate in the output stage for the higher input settings keeping unity gain, but the saturation stage of the Tape effect gets hit harder hence further compressing and overdriving the delay sound.
Heck! I sometimes use TapeDelay set to 100% wet with one delay set to zero delay to give texture to my dry sound and the other delay used as a regular delay.
-I’d keep Wow and flutter low, so it doesn’t feel artificial (a value from 1 to 4) but still modulated and lo-fi.
-Filter from 2 to 10 (out of 100).
Then I’d pair that with a rhythmic multitap delay. Trying both possible FX orders: Tape-> Multitap, Multitap-> Tape.
The Tape will provide the modulation and texture and the Multitap the, well, multitap thing.
I’d try both Ultratap with only 4 or 6 taps, or Multitap delay.
Both with very little smearing (if any) and Taper and grouping parameters set to 12 o’clock, a neutral setting.
Then there’s the Resonator effect, it can be used as a 4 Tap Delay into reverb. Just set the resonance to zero. Then use the note #1,#2,#3,#4 parameters to set the filtering (band pass) of each tap individually.
One important thing is that VintageDelay might take you close to the feeling / texture of a tape delay.
The filtering is very differing to that of the Tape algorithm wich is a hi cut + low boost. In the case of VintageDelay, it cuts also lows, wich I love, and adds a bit of resonance.
If you set the Bits to something around 11bits it gets fuzzy in a lovely way. Filter to taste, I’d suggest starting around 30 (out of 100). The higher the feedback, the fuzzier/more “deconstructed” diluting the trails.
The you have Depth and Speed for modulation, the modulation of the two delay lines is offset, making it richer. I like to set the speed to Max and depth to 1 or 2.
Vintage Delay might give you the texture and modulation you are looking for.
Then again you have the second H9 unit, you can use it with another Vintage Delay with offset delay time/subdivision (regarding unit 1) and offset modulation settings.
You can use TapeDelay + VintageDelay in series… Etc
Or you can use the VintageDly and a multitap algorithm.
I encourage you to experiment with the A/B delays mix parameter, starting with it at 12 o’clock in both units. This mixer affects both the delay level and panning for each unit.
While we are at it, if you are not using a stereo rig you are loosing an enormous part of the fun with any Eventide box. At minimum, you should connect unit 1 into unit 2 with left and right jacks, even if you run in mono and use unit 2 to mix the final result in mono. Conecting unit 1 to unit2 with in stereo will give the processing extra richness.
For Robin G sounds I’d suggest also MicroPitch delays with A/B mix set to 10/10. That way the feedback is set to crossed feedback wich results in gorgeous sound scrapes with high feedback settings.
Undulator in Feedback mode and with tremolo set to off, also creates very nice delay+MicroPitch shift drones.
ModEchoVerb and SpaceTime are algo great for enormous multiprocesed modulated escapes. Perhaps more in the vein of a more contemporary R. Guthrie sound…
I could keep writing for hours, but I don’t want to overwhelm the thread.
🙂
Javier
