Erica Synths — Black Delay

• Manual PDF

Download the Erica Synths Black Stereo Delay Manual PDF

Creative Erica Synths Black Stereo Delay Modulation Techniques

Module in Focus:
Erica Synths Black Stereo Delay (BSD)
A deep, stereo, DSP-powered delay module – perfect for pushing into experimental, gritty, and atmospheric sonic realms!

Below are sound design strategies based on the BSD features, tailored for distorted percussive sounds, wobbly/crazy basslines, and haunting pads.

Modulating For Distorted Percussive Sounds

1. Feedback Overload & Self-Oscillation
2. Turn FEEDBACK fully CW to drive the delay into self-oscillation.
3. Use short DELAY TIMES (3-30ms) to generate metallic, dirty slapback tones.

4. Patch an Envelope or Sequencer to FBK CV: Percussive envelope modulation at feedback CV in can create clicky, saturated sound artifacts.

5. CV-Controlled Glitch & Stutter

6. TRIGGER INPUT > HOLD/ADD: Use a fast/random rhythm trigger to loop and overdub short audio fragments for granular, choppy effects.

7. Reverse Trigger: Randomly reverse slices for glitch effects.

8. Extreme Tape/Spread Effects

9. TAPE MODE introduces pitch artifacts at short delay times.

10. Stereo Spread: Hold ADD + turn TIME to max for big left/right jitter. Route percussion through and automate spread for stereo tearing.

11. Wavefolder/Distortion Combo

12. HOT INPUTS: Drive hot drum or glitch signals into the IN LVL knob past 12 o’clock for in-circuit “saturation.”
13. Feedback Path: Use a CV modulator (sample & hold or LFO) to wiggle FBK CV rapidly, creating digital distortion bursts.

Creating Crazy Basslines (Dubstep/Drum & Bass Tones)

1. Wobble via Delay Time Modulation
2. TIME CV Input: Patch a bipolar LFO or envelope follower to TIME CV. Set a medium delay time (60-200 ms) in DIGITAL MODE (no pitch shift) for “tearing” comb-filter bass when fed with sub-bass.

3. ADIABATIC Feels: Slow manual tweaks in TAPE MODE will pitch-shift the repeats for classic dubstep LFO movement.

4. Feedback Crunch

5. CV-Controlled Feedback: Use an LFO or stepped-random source to modulate FBK CV, automating drive/chaos.

6. Syncopated/Polyrhythmic Effects

7. TAP or Ext Clock Input: Sync delay to groove, then unsync (move TIME) for “shrinking” bass stutters or breaks.

8. Reverse Bass Mayhem

9. Reverse Trigger: Momentarily flip the REVERSE mode for mangled, reversed reverb tails on bass, giving DnB breaks a live feel.

Haunting, Atmospheric Pads & Soundscapes

1. Slow CV Modulation: Pad Smear
2. MIX CV Input: Use slow random LFO or S&H to fade between dry/wet for subtle pad morphing.

3. TIME CV: Slowly modulate TIME or manually nudge for ghostly spectral shifts.

4. Hold Buffer Drone

5. HOLD Mode: Sample a pad or chord, then switch hold on for looping ambience.
6. ADD Overdub: Periodically overdub new fragments (with manual IN LVL) for evolving drone pads.

7. Stereo Spread: In Hold Mode, set stereo spread wide for a super-wide atmospheric field.

8. Ping-Pong & Multi-Tap

9. Ping Pong with Spread: Set PING PONG mode ON, then widen stereo spread for engulfing, L/R bouncing echoes that create intricate textures.

10. Reverse Shimmer

11. Reverse in Hold: Layer HOLD + REVERSE for ghostly, backward-moving pads, especially with shimmer/chorus upstream or downstream in your patch.

12. Feedback Texture Generator

13. Feedback On the Edge: Set feedback just below oscillation—slowly raise for endless, decaying washes that evolve over time. CV slow modulation makes the texture undulate.

Additional Tips

• Feedback Loop Externalization: Route OUT R to a distortion, then back into IN L, with feedback very low, for an analog-style feedback insert.
• Use Both Mono Inputs: Patch contrasting percussion and melodic lines to IN L/IN R for complex stereo delays.
• Abuse The Input Level: Use IN LVL creatively—high for saturation, low for clean shimmer, modulated for evolving character.

For reference, see the official manual PDF here.

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