Erica Synths — Black Delay

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Erica Synths Black Stereo Delay Manual PDF

How To Use the Erica Synths Black Stereo Delay for Dense, Rhythmic, and Complex Percussion in Eurorack

The Erica Synths Black Stereo Delay is a stereo digital delay effect module, but in the context of Eurorack modular music, delays can be rhythmic instruments in their own right—not just FX! Here’s how to harness its features for hyper-complex, percussive, and polyrhythmic music:

1. Use Delay as a Rhythmic Multiplier and 'Trigger Looper'

• Patch percussion sounds (clicks, hats, short metallic tones, etc.) or already-sequenced drums into the IN L/IN R inputs.
• Use the Delay Time knob and/or CV for micro-to-millisecond delays—very short delay times (3–30ms) will create flams, doubling, comb/filter effects, and tight slapbacks—great for dense, punchy percussion.
• For more complex rhythms, modulate Delay Time with a sequencer, stepped random, a clock divider, or an LFO running on an odd divisor to instantly develop polyrhythms.
• Patch CV to FBK CV and/or MIX CV: sequence these to amplify, duck, or morph repeats. Patch envelopes from percussion voices to these inputs to get dynamic feedback "bursts" only on select drum hits for extra punch.

2. PING PONG & STEREO SPREAD for Polyrhythms

• Enable Ping Pong mode. Route single percussion hits to IN L (or IN R), and each repeat bounces to the other stereo channel in its own time—instant stereo polyrhythms!
• Use the ADD button + TIME knob to set a stereo spread (delay offset between left and right). Use this to shift echoes off the beat ever-so-slightly, creating swinging, off-grid, or "ghost note" stereo delays.
• Switch between Tape and Digital for character: Tape imparts pitch-shifting and flutter, making even simple patterns feel less static and more percussively alive. Digital is crisp and snappy.

3. Tap-Tempo & External Clocked Polymetric Patterns

• Use the TAP button or patch a trigger into the TAP trigger input. Send polyrhythmic or odd divisions (e.g., 5/8, 7/16) from a separate trigger sequencer—your delays lock to whatever pulse you provide, so you can overlay polyrhythmic tempos.
• Use a Euclidean or probability-based trigger sequencer for the TAP input, causing the delay to periodically change its rhythmic grid in real-time.

4. HOLD/ADD/REVERSE Performance Percussion Layering

• Use HOLD mode to "live-loop" rhythmic audio input (up to 20 seconds). Now you have a buffer of complex percussion to layer over existing patterns.
• Use the ADD button to overdub glitchy fills, shaker rolls, or programmed “ratchets.” Each ADD can be CV- or trigger-controlled, allowing for algorithmic layering of new patterns.
• REVERSE can instantly flip the rhythmic feel of your percussion loop—abrupt, percussive reversals are especially effective with modulated feedback and delay time.

5. CV Performance Manipulation and “FX Percussion”

• Patch stepped random, Turing machine, or rhythmically programmed CV into the TIME CV, MIX CV, or FBK CV inputs.
• TIME CV sequencing: Animate repeats to stutter, skip, or ratchet in complex patterns.
• MIX CV: Morph between dry and effected signals; with percussion, this feels like “ghost hits” or hammered rolls sneaking in and out.
• FBK CV: “Crest” certain parts of a sequence in and out, creating clouds of percussive echoes that syncopate with the original.

6. Modular Meta-Percussion

• Mult percussion triggers to both the Black Stereo Delay trigger inputs (HOLD, ADD, REVERSE, TAP) and other percussion voices or effect modules to lock evolving or polyrhythmic delay actions to specific beats.
• Use stereo outputs to spatialize percussion: OUT L/OUT R to different speakers or processors, for maximal stereo effect.

Tips for Unique, Punchy, and Percussive Results

• Short Delay + High Feedback: Fluttering, metallic, stuttered percussion (great for glitch, IDM, "broken beat").
• Live Knob Performance: The large front-panel knobs are perfect for hands-on fills, feedback drop-ins, or wild burst stutters.
• Trigger “Abuse”: Send gates from random modules or bursts to any trigger input for glitch-tastic, dense textures.
• Use in FX feedback loop: Place distortion or filtering between output and input for radical destroyed percussion effects.

Summary Table

With these techniques, the Black Stereo Delay becomes not just an effect, but a powerful voice and meta-controller for generative, dynamic, hypercomplex percussion.

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