… Speaking of: something else worth trying is Mod Delay from Time Factor. Set the modulation waveform to be the out-of-phase triangle waves, pick short delay times from 5-30 ms – but pick different delay times across the two channels. Start with Fibonacci numbers for delay times, but don’t feel obligated to stick to them (sometimes you want the combing that common multiple delays end up creating!). Set mod depth to 1, mod speed to taste (I usually go for 1 Hz or 5 Hz), filter to low cut/high pass but very gently (no more than 15), and explore the full range of feedback on both delays (including different feedback values for each delay) but keep it below 0.65. There’s a huge depth of chorusing sounds to be found in there.
My go-to for many, if not most delay-based modulation effects. So innocuous from the outside, but – on a deep dive – a de facto ‘multi-effect’ that runs the gamut. (In fact, you’re closely describing that Dim-flavored Program of mine I referenced above. Two parallel instances, with a 2nd flavor in Series).
You make a great point about the wide ranges of delay times in the H90 algos. There’s a lot of hidden gold to be mined in the fractional ranges (even at 0 mS – processing delay!). I like to take advantage of what each unique algorithm brings to the table, in that regard. The craziest, deepest modulation sounds I have run across aren’t classified as “Modulation” effects at all. Ultra-short delay times, offset two of them, and *carefully* tweak the Feedback(s). Around 101-110 (sometimes lower) … you’re just asking for it.
[Selfish FR – delay time to 3 decimal points, like the newer releases. I’ve been spoiled by microseconds in Rose.]
