Stereo delay · Model DD-87 · v1.0.0
Free stereo delay for macOS and Windows
Shape each repeat with two resonant filters, drive and tape, BBD or digital colour. Reverse the echoes, shift their pitch on each pass, or hold a phrase with Freeze. Two LFOs, an envelope follower and sidechain ducking control how the delay moves and responds to the track. Includes 76 factory presets.
Preset
Sixteenth Shuffle
Sixteenth-note repeats bouncing left and right, 40 % feedback.
Preset
Square Wobble
Eighth-note repeats; a square LFO at a dotted quarter flips the low-pass between two cutoffs.
Preset
Tape Echo
300 ms, 45 % feedback, drive half up. Every repeat passes through the drive and both filters again, so the top end rounds off pass by pass.
Preset
Techno Rumble
Short, driven repeats at 88 % Feedback and 50 % Mix, low-passed and ducked under each kick. Use 100 % Mix on a send.
Preset
Ping-Pong
420 ms alternating left and right, 55 % feedback.
Preset
Rockabilly Slap
120 ms, 22 % feedback, drive at 45 %.
Preset
Infinite Pad
900 ms ping-pong at 90 % feedback.
Preset
Stereo Sweep
Parallel filters, one per side, each swept by its own LFO half a cycle apart.
Preset
Haas Widener
10 ms left and 28 ms right, with no feedback or filtering.
Preset
Dotted Eighth
Dotted eighths at 375 ms, or three sixteenth notes, with 50 % Feedback through Digital. Both sides use the same time.
Preset
Doubler
28 ms left, 44 ms right, no feedback.
Preset
Vocal Thickener
60 ms, the sides 9 ms apart, ducked under the voice.
Preset
Dub Delay
375 ms, 65 % feedback, drive at 35 %, low-pass at 2.8 kHz.
Preset
Drive Box
No delay: drive at 85 % into the filters, fully wet.
Preset
Reverse Throw
Dotted-eighth reverse delay with feedback ducking. Listen for the backwards vocal in the gaps between phrases.
Preset
Shimmer
+12 semitones per pass at 72 % feedback: each repeat climbs an octave, diffused into a wash and ducked a little under the playing.
Preset
Ducked Feedback
Dotted-eighth repeats at 72 % Feedback, with ducking applied to regeneration.
Three delay models · drive · compander · diffusion
Tape darkens each repeat and adds a low-frequency bump. BBD gets darker as delay time increases. Digital keeps the delay line clean. Drive adds saturation inside the feedback loop, Age adds further high-frequency loss, and Diffuse softens the attacks for denser tails.
Two filters · five modes · series or parallel
Each repeat passes through the filters again. Low-pass and high-pass offer 6, 12 and 24 dB/octave slopes; band-pass, notch and all-pass add narrower filtering and phase effects. Use Series to apply both filters to both channels, or Parallel to filter left and right separately. High resonance can produce self-oscillation.
Reverse playback · ±12 semitones per feedback pass
Reverse plays each delay segment backwards. Repeats alternate direction as the loop records its own output. The pitch shifter affects feedback only, leaving the first echo at its original pitch. Set +12 for rising octaves, +7 for fifths, or a small offset for detuning. Amount blends shifted and unshifted feedback. Shifted repeats arrive slightly later because of the pitch processing.
Tap tempo · swing · two LFOs · envelope follower
Set left and right delay times independently, link them, sync them to the host or tap a tempo. Swing adjusts the ping-pong rhythm. Tape glide bends pitch during time changes; Fade crossfades between times. Route either LFO or the envelope follower to delay time, either filter or wet level. Synced LFOs follow the host transport.
Duck the wet output or the feedback
Wet ducking lowers the echoes while you play. Feedback ducking reduces regeneration while leaving the first echo at full level. Set Threshold and Release to suit the part. The envelope can follow the main input or an external sidechain, so another track can control ducking and modulation. Route the sidechain in your host before selecting SC.
Separate loop input gain · makeup · selectable noise floor
Input adds gain to the delay loop while leaving the dry signal alone; Makeup compensates at the wet output. Tape and BBD use a paired compressor and expander to control the level entering the delay. The recorded gain is removed on playback to preserve the feedback decay. Floor adds low or vintage hiss, and Invert reverses feedback polarity for different cancellation patterns on short delays.
Search the 76 factory presets by name or category, and star favourites for later. A/B stores two sets of settings with your project; Copy duplicates the current set into the other slot.
Lock preserves Mix, input and output trims, and Wet Solo during preset changes and A/B comparisons. It keeps a fully wet send fully wet while you browse.
Click Freeze to latch it, or press and hold for a temporary freeze. Hold Runaway to force feedback above 100%. Panic clears the delay and feedback state.
Spread adjusts cross-feedback, Offset shifts the right delay by up to 30 ms, and Width narrows or widens the wet signal. Ping Pong alternates repeats between channels.
Switch Delay off to process the input through drive and the filters without echoes. The modulation matrix can still move the filter cutoffs.
Bypass stops new audio entering the loop and lets the existing tail finish. HQ runs the loop at twice the sample rate to reduce aliasing, with extra CPU cost and latency reported to the host.
The Echo Map shows the current delay times, repeat levels and feedback paths. Left and right repeats appear above and below the centre line. Markers indicate reverse playback, pitch shifting and inverted feedback; a beat grid appears when a control is tempo-synced.
Each LFO has sine, square, saw and sample-and-hold shapes, with Phase and Smooth controls. The matrix selects a source and amount for each destination. Type values directly into the readouts, double-click to reset a knob, or use Undo and Redo to compare edits. The window is resizable. Read the manual for control ranges and setup instructions.
Presets carry their name into your session and show a * once you've moved away from them. User presets are plain XML files you can share.
1.0.0 Sep 2026