.From the humblest of analog echoes to the most multifaceted digital behemoth, there's never been a better time to repeat yourself - and these are the best delay pedals you can invest in today.Our buyer's guide encompasses effects with built-in tap tempo footswitches, to shimmer, modulation,and reverse modes, MIDI functionality, and even app-based editing.Yes, there's never been a better time to repeat yourself, so join us as we count down the finest delay pedals available today - but first we must apologise: this journey will most definitely be delayed. Sheer number of features can be tricky to get your head roundThe TimeLine is an all-encompassing beast of a delay with 12 different types included (‘delay machines’ in TimeLine-speak), plus a stereo 30-second looper and an onboard memory that can store 200 rewritable presets in 100 banks of two. There's a colossal range of sounds onboard, especially the pitch-shifted modes, which are ideal for creating ambient soundscapes, while the analogue and tape sounds are as authentic as they come. Several ‘studio-delay-in-a-stompbox’ pedals are available, often at prices way above what you’d normally pay for a single pedal, and he TimeLine is one of the most respected of that type. In our view, Strymon has got the balance of facilities, control options and a comprehensive range of delays just right.
Best delay pedal brands. The company still manufactures quality delay pedals that are more affordable and fun, such as the popular Flashback Mini, or the Nova line of pedals with effects such as delay, reverb, drive, and modulator. Behringer is one of the largest manufacturers of musical products in the world.
Quite likely all you could ever want in a delay pedal.Read the full review. Shimmer mode isn't the strongestHow does effects giant Boss compete with the high-end Strymons and Eventides of the delay world? By pushing the DD format to its limits. The DD-500 mirrors its forebears, with physical knobs for key parameters, while a whopping 297 patches are available to save your carefully crafted tones. You can access any two patches at once, assigned to the A and B footswitches, while tap/control offers tap tempo or a host of assignable functions, such as freezing current repeats, or rapidly increase the delay rate for pitch-bending insanity. While delay junkies may argue that Strymon and Eventide have the edge in the tone department, Boss has them and most others beat in terms of sheer flexibility and value for money - we haven't even mentioned the easy-to-use looper, which boasts up to 120 seconds of loop time.
It all ensures the DD-500 ranks among the best high-end delay units available today.Read the full review:3. Electro-Harmonix Canyon. A lot of settings aren't easily accessibleEHX has an enviable delay pedigree: The Edge is as synonymous with his Deluxe Memory Man as he is his beloved beanie. The Canyon marks the company’s first compact, multi-mode offering. The New York maestro has pulled together 11 delay types, including a 62 second looper and the pitch-shifting Octave mode – a first in an affordable compact. It’s hard to argue with the breadth and depth of the Canyon’s delays: there are no weak sounds here and they’re bound to inspire creativity.
The Canyon is unmistakably EHX in every way, for better and for worse. The audio quality and diversity should make this a no-brainer for experimental players whose compact needs aren’t met by the DD-7 or Flashback and don’t need stereo outs. One of the best compact delay pedals.Read the full review. Pedal doesn't mute instantly when holding down the footswitch for tap tempoIn designing the, TC wanted something that was fast, easy and intuitive to use, with the ability to change sounds on the fly with a few knob tweaks.
The Flashback 2 offers the same comprehensive selection of delay types with the addition of the pressure-sensitive MASH footswitch, which allows for expression pedal-like control, plus new octave effects. There's little extra that we could ask for in a delay pedal, especially one as compact and sensibly priced as this. It would be very good value even without the TonePrint import feature, but it's this that really sets it apart from the herd.
TC has brought something to the table that other compact pedals don't have - effectively, this pedal is updatable. It's no wonder we see it on the pedalboards of a diverse variety of players. Fast on its way to classic status.Read the full review. Internal trim pots are tinyUsing BBD technology, MXR's Carbon Copy has, er, echoes of the old MXR Analogue Delay (discontinued in the '80s) - not least in its three control knobs and greenish colouring, albeit in a much spanglier metallic shade this time around. It looks very smart indeed and packs a lot of control into a small space by utilising a triangular knob configuration. Tonally, the repeats have clarity combined with a dark warmth and a natural sounding decay that seems to work well between guitar and amp.
As a mass-market analogue delay in a conveniently sized package, there is little around that can touch this pedal.Read the full review. There's no display, so keep the manual handy!The Echosystem aims to provide all the delay and echo sounds you could possibly need without eating up too much of your valuable pedalboard space. Getting familiar with the Echosystem’s operation might take a little time but it’s all worth it for the superb range of sounds that it can conjure up. There is so much variety on offer in terms of delay mode but things really get most interesting when you select dual mode operation, as you can layer and synchronise different modes for complex rhythmic repeats, massive ambient soundscapes or some really wacky stuff if that’s your inclination. If you just want a simple bit of echo now and again to spice things up then this won't be for you. Otherwise, it offers a virtuosity that stretches much further than your average stompbox, encouraging creativity by using two engines to craft your own unique delay combinations.Read the full review. No onboard modulationDiscontinued in 1984, the DM-2 is the gold standard for bucket-brigade delay (BBD), and this updated Waza Craft interpretation recreates its classic tone to a T.
Warm, quirky and increasingly unpredictable as you move the repeat rate knob to the right, you can get everything from simple slapback delays to auto-oscillation and other-worldly effects. There’s a direct out as well as the ability to switch from ‘standard’ mode, or the stock reissue, into ‘custom’ mode, which sees the delay times expanded out to 800ms. Finally, there’s an expression input for rate. As on the original, the repeats sound simply gorgeous.Read the full review.
Initially intimidating depth of editingWith the TimeFactor, Eventide has chosen to package the best of its delays into a box suitable for the studio player/producer and the gigging musician. Build quality is spot-on, with nice smooth-feeling pots, a very clear layout, decent rubberised grip feet, a sturdy casing and a great informative dot matrix display. So how do the effects sound? We’d have to say that, in general, the vibe is warm, natural and classy; in fact, it’s everything we’ve come to expect from high-end Eventide effect units. The only real downside is that it’s difficult to get any serious grit out of the box, and you might also be disappointed to learn that there’s no option to battery power it. In fact, there's nothing digital-sounding about this box, and there are no weak delay types, either.
The TimeFactor is simply a high-quality, great sounding and very versatile pedal.Read the full review. Not the cheapest analog delayIt’s relatively rare that a pedal manages both ‘weird’ and ‘normal’ sounds, but the Rubberneck delivers. The feature from which it gets its name can be dialled in to a subtle vibrato or a deep, seasick warble. Controls for gain and tone mean that a brighter and cleaner or more dark and gritty sound can be conjured.
There’s also tap tempo functionality and the option for eighth, dotted eighth and quarter notes, built on top of a great-sounding analogue delay. A regen knob gives control over momentary oscillation effects and a highly usable delay-time sweep makes more atmospheric delay lines possible. A seriously underrated analog delay. No instant switching of presets from the pedal's own footswitchesA good option for those considering the Strymon Timeline and Boss DD-500, Source Audio's Nemesis features 12 different delay engines, but goes beyond that, in that it is compatible with Source Audio's Neuro app for iOS and Android.
Connections are plentiful, with stereo I/O and MIDI controls. You can even use the spare outputs as an external loop, so you can insert another pedal into the feedback loop of the delay line. The delay engines offer a range of sounds that should cover most musical needs, from emulations of vintage classics through to more esoteric options that make creative use of modern DSP. Source Audio may not be quite as well known as, say, Eventide, Boss or Strymon, but it has come up with a pedal that can go head to head with them at a very competitive price.Read the full review.
If you’re a guitar player and you’re into pedals, you should be watching That Pedal Show. An absolute monster of the genre, this is EarthQuaker’s number one selling pedal, which is pretty impressive considering its stablemates. Despite this tiny package and relatively unassuming details, the DM may just replace a few of the pedals at the end of your chain.
I cannot overstate just how often I come across someone playing one of these, and for good reason. Everything from straight utilitarian to absurdist experimental resides in this pedal.Controls on this include Reverb, Repeats, Time, and Mix. The Time knob selects a delay time between zero and 1.5 seconds. The Repeats knob controls regeneration and in Reverb mode simultaneously adjusts parameters for decay, thickness, and depth. Reverb and Mix are self-explanatory except to say that with Reverb all the way down, this is a simple but brilliant digital delay.To use as just a reverb pedal, turn the Time knob all the way down. The reverb range is huge, going from slapback to cavernous, with the voicing focused more on a room (albeit a very big one at times) rather than spring or plate. A fine place to start when exploring this type of pedal.Consider to find used examples or sell your gear toward a purchase.Specs:.
Delay type: Digital. Delay time: Zero to 1,500 milliseconds. Tap tempo?: No. Expression input?: No. Stereo outs: No. True bypass?: Yes. Reverb type: Room/Hall.
Mechanism for separating delay and reverb: Reverb and Time knobs. Speaking of stablemates, if you like the idea of the Dispatch Master but need more functionality, the Avalanche Run is the pedal for you. Once again harnessing extremely high-end DSP, this pedal adds a bevy of functions that help make it more useful especially in a live band context, like tap tempo and expression control.Knobs on this tone machine are divided into sections.
The top row controls the delay and consists of Time, Repeats, Tone, and Mix. The bottom middle knobs of Decay and Mix control the reverb side and are flanked by two function knobs. On the left, the EXP knob allows you to set what an external expression pedal controls among Decay, Reverb Mix, Repeats, Delay Mix, Toggle, and Time.Setting the expression to Toggle controls the switch below that selects from Both (normal delay and reverb), Reverse (reverse delay with normal reverb), and Swell (total input volume swell based on picking dynamics). The Time expression control is interesting in that it varies significantly from the normal knob’s function.
When using an expression pedal, you can achieve far more extreme effects than possible with the knob.In addition to all that, there’s a Tap button for tap tempo, which is further controlled by the Ratio knob. Options on the Ratio knob include subdivisions for quarter note, dotted eighth, quarter note triplet, eighth note, eighth note triplet, and sixteenth note. The Tap switch also has hold functions. In Normal and Swell modes, holding the Tap switch dials up self-oscillation, while in Reverse mode, you can temporarily switch back to Normal mode until released.To finish it all off, you get stereo ins and outs and selectable true bypass and trails as well as Flexi-Switch switches so you can use them both as momentary and latching. Within that selection, you can choose from five different trails lengths. This is Wampler’s version of the Dispatch Master.
In typical Wampler fashion, the vision for this pedal was focused solely on calling up a usable setting as quickly as possible. It varies from the DM somewhat in that it includes a subdivision button for the delays — yep, delays, plural. The standard quarter note delay is separate from its subdivided partner so you can call up the magical quarter plus dotted eighth without any other messing about.Controls on this unit are simplified to Delay (from zero to one second), Feedback, and Tone, with dedicated Delay Mix and Reverb Mix over on the right side. The Delay Mode switch controls the addition of the second delay to handle subdivisions. The selectable trails mode is not an inconvenient internal dipswitch, but rather a handy Trails switch on the right hand side.While there’s no tap tempo, there is an LED that offers visual feedback of your delay rate. Can be run at 9 or 18 volts at a much more reasonable sub-70 milliamps, if those details are important for you.Consider to find used examples or sell your gear toward a purchase.Specs:. Delay type: Digital.
Delay time: Zero to 1,000 milliseconds. Tap tempo?: No. Expression input?: No. Stereo outs: No. True bypass?: Yes, with optional buffered trails. Reverb type: Plate. Mechanism for separating delay and reverb: Dedicated Mix knobs.
This pick owes a large debt of gratitude to the pedal that precedes it, the. Foxpedal sought and obtained permission to produce this lovely version, which makes some slight modifications both visual and functional.
The primary thrust of this pedal is the marriage of vintage-type effects: three flavors of analog and tape delay cascaded into a spring reverb.To begin with, the top left controls of Mix and Decay address the reverb section of the unit. While you can turn the reverb mix all the way down, the left-most footswitch disengages the reverb entirely. The rest of the controls adjust parameters for the delay circuit, which is selectable with the Mode knob between a Binson Echorec, Roland RE-201 Space Echo, and Maestro Echoplex EP-3.In Echorec and Space Echo modes, you have two delays, the times for which are controllable with the Delay 1 and Delay 2 knobs. In Echoplex mode, only one delay is active and the maximum delay time is half as long. All delays are controlled with the Mix and Feedback knobs.The Mod controls allow you to choose which delay (or neither) gets the tape warble controlled by the attendant Rate and Depth knobs.
Using this, you can achieve some mangled sounds that would certainly have destroyed the vintage tape units in question at the time. You can also disable the delay completely with the far right footswitch.Differing somewhat from the 1776 version, the Wash momentary switch controls feedback rather than the speed of Delay 2, bringing you all that oscillating goodness all modern ambient pedals are required by law to have now. Three modes of delay are nice, but what if you could have eight? This handy little unit from Keeley condenses a litany of devices from other sources and integrates them into a super-usable unit with all the finesse expected from his workshop. While the previous items on this list may focus a bit more on inspiration and performance, this could prove a valuable addition to a sound design studio, though of course it would be no slouch on the road, either.The controls are split into two banks to control the delay and reverb separately, both of which are engaged with independent footswitches. The top bank is for reverb and includes a mode selector knob, Blend, Decay, Predelay, and Morph.
The Morph control changes function with each reverb type and adjusts things like tone, filter, and octave up level.Technically, there are only six modes of reverb because the last two slots are options for a second delay — your choice of digital or tape. Available in the six are your standards like spring, hall, and plate, and weird ones like shimmer and flange. The expression pedal input controls the reverb decay.The second bank of controls is for the delay. Delay Select, Blend, Time, Feedback, and Morph, where Morph in this case can control things like modulation, ducking ratio, octave, and subdivision. Strymon are dedicated to tonal perfection via their programming skills, using high-end DSP to achieve their high-fidelity sounds.
All of their pedals are powerhouse units with extreme degrees of flexibility and options aplenty. This unit focuses solely on recreating Echoplex and Space Echo style tape sounds, but deserves a mention on this list because of a hidden gem: a fantastic spring reverb living amongst the secondary functions.The obvious controls all relate to the tape delay. First, choose your mode using two switches. The first, Tape Head, which selects from Fixed Tape head, Multi Tape head, and Single Head. In Fixed Tape, the Time knob controls the tape speed while the Mode switch chooses between 1/16th note (A), dotted 18th note (B), and 1/4 (C). In Multi Head mode, the Time knob varies the tape speed while the Mode switch chooses which playback heads are active.In Single Head mode, the tape speed is fixed by the Mode switch (A is double speed, B is normal, and C is Sound on Sound), while the time knob moves the position of the head.
Sound on Sound mode plays the entire tape loop, including whatever was recorded before switching to C as recording is always enabled. You can choose new tape splice points by pressing the Tap switch.Otherwise, you get controls for Tape Age, which controls the bandwidth and thus the overall brightness, Repeats, and Wow & Flutter, which sets the naturally occurring modulation that old tape units would effect. The Mix knob is an all-analog control that goes from 100 percent dry to 100 percent wet.If you turn down any of the parameter knobs and then hold down both the Tap and Bypass buttons, the unit will switch to the secondary parameters.
The Time knob becomes the level knob for the spring reverb — the very function that puts this pedal on this list. The Tape Age knob becomes Low End Contour, which rolls off the lows as a vintage machine would do. Repeats becomes Tape Bias and allows you to control the overall headroom.
Wow & Flutter becomes Tape Crinkle, which emulates dust, friction, and tape damage independent of the Tape Age control. Finally, Mix becomes a Boost/Cut knob, allowing for a 3 dB boost or cut.Consider to find used examples or sell your gear toward a purchase.Specs:. Delay type: Tape. Delay time: 25 to 1,500 milliseconds, depending on Tape Head and Mode selections. Tap tempo?: Yes. Expression input?: Yes.
Stereo outs: Yes. True bypass?: Yes, with optional buffered trails. Reverb type: Spring. Mechanism for separating delay and reverb: Secondary function of the Time knob controls reverb level.
Speaking of multi-functional, this very recent release from Electro-Harmonix packs a huge degree of functionality into a super small container. Even the Strymon above looks massive compared to this standard MXR/bud box size unit.
Contained in here are ten distinct delays, a plate reverb, and a 62 second looper. Think about how many pedals you could replace with this device just on the face of that alone. Even better, one of those delays is a Deluxe Memory Man emulation, so if you happen to carry around one of those massive pedals, you could consider downsizing to this for some uses.To be totally fair to the other options on this list, the plate-style reverb is only available on one of the 11 modes contained herein — helpfully labeled Verb. When on the Verb mode, you can turn the Feedback knob all the way down and use it simply as a reverb pedal, with the Delay knob controlling the predelay. Otherwise, the controls are as you’d expect, including FX Level, Delay, and Feedback, in addition to the 11-way mode selector switch.The Tap/Divide button in the middle performs a few functions. First, by pressing the button when you’ve set a tap tempo, you can cycle through subdivisions.
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The LED will change accordingly for the following settings: Red is 1/4 notes, orange is dotted 1/8th notes, and green is 1/8th notes. If you hold the Tap/Divide button for one second, you enter Secondary Knob mode. These controls are regulated by the Delay and Feedback knobs. They’re available on all but the Echo and Loop modes and control varying functions according to the mode you’re using to include modulation, attack sensitivity, volume swell and more.What it lacks in pure delay-reverb combo functionality, it more than makes up for in being the pedal equivalent of a Swiss army knife for time-based effects.Need more?
Upgrade to theConsider to find used examples or sell your gear toward a purchase.Specs:. Delay type: Digital, Modulated, Multi-tap, Reverse, Analog, Tape, Verb, Octave, Shimmer, Sample & Hold. Delay time: Five to 3,000 milliseconds. Tap tempo?: Yes.
Expression input?: No, but you can use an external tap. Stereo outs: No. True bypass?: Yes, with optional buffered trails. Reverb type: Plate. Mechanism for separating delay and reverb: Reverb is one of the delay modes.
Admittedly, using any kind of modeling multi-effects pedal cheats just a little bit. The inclusion of this on our list springs from two elements that qualify it. For one thing, it only takes up as much space as a single effect pedal.
It’s not meant to stand in for a whole chain like a can. Second, the Xtomp has models for pedal pairings that make it perfect for this use, powered by powerful Texas Instruments DSP chip.The three delay-reverb pairings available as of today are:, and.The Mag Hall preset pairs a reverse delay with a room reverb. Controls for this setting are Reverb Mix, Tone, Reverb Decay, Delay Mix, Time, and Feedback. The range of delay on this and Backroom are both 20 to 1,000 milliseconds, and Backroom shares the same control layout. Mag Hall also allows you to use tap tempo by holding the footswitch to cycle the mode on or off. Triplet is also tap tempo ready, but the control set is a little different. This pedal takes a pretty unique approach compared to the others on this list.
Both the delay and the reverbs in this pedal are digital and that is an intentional decision. The delay is a high-fidelity digital effect for perfect, clear repeats.
The reverb emulates inexpensive digital rack units from the 80s and 90s that suffered from hardware limitations that caused the reflections to build up on themselves over time as an unintended artifact. From that sprung a love of these units that continued to build up as you played them, so Alexander sought to recreate that function in a compact pedal.Controls include Reverb to set the level, which doubles as the Delay mix level when the footswitch is held down.
Delay, Mix, and Repeat all work as expected, with the range of the Delay changing with the selected Mode. Using the Mode toggle, you can choose between Wash (up to 800 millisecond delay with slow-build reverb), Gleam (adds an upper octave to the reverb with a 640 millisecond delay), and Echo (essentially the same as Wash, but with a different hold function).The footswitch doubles as a momentary hold switch with two modes of its own. Infinite mode adds newly-played notes to the held sounds, while Freeze allows you to play the dry signal over the repeating sounds. In Wash and Gleam, Hold increases the reverb time to infinite, and swells the octave shimmer in Gleam. In the Echo setting, holding increases the delay feedback to infinite and will oscillate with the attendant volume increase.While there’s no dedicated stereo outs, you can employ a stereo TRS cable to form a wet/dry split to affect a stereo signal of a sort, if you like. This is definitely not a pedal for everyone, but it is a very specific, neat effect.Consider to find used examples or sell your gear toward a purchase.Specs:.
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Delay type: Digital. Delay time: Zero to 650 or 800 milliseconds, depending on mode. Tap tempo?: No. Expression input?: No.
Stereo outs: No. True bypass?: No. Reverb type: Digital. Mechanism for separating delay and reverb: Reverb level knob, secondary Delay level knob function. I know, I know.
It’s a Mooer, so it would appear that there is an entire extraneous digit on the price of this pedal. Indeed, they make a delay-reverb combo pedal in their usual mini form factor called the that comes in under $100. Given the power and flexibility of the rest of the options on this list, I thought it only fair that we include this massively ambitious offering from Mooer, which is the signature pedal for, named after his 1997 album Ocean Machine: Biomech as it was later reissued.This is a beast of a unit, easily edging into Strymon TimeLine/BlueSky territory.
Lest I keep you here reading this all day, I’ll just give you a brief overview of the controls that are apparent as you look at the device, but know that there are many varied functions hiding beneath the Menu knob and the Setting, Store, Preset, and Back buttons. The screen readout will help you navigate the dense world of this pedal where there are 17 delays, nine reverbs, freeze, and a 44 second looper.
Any parameters you dial in can be saved and instantly recalled.First, there are two delays and a reverb, all of which are engaged with dedicated footswitches. Choose the mode for each of them using the Reverb, DelayB, and DelayA knobs. The parameters of each are controlled with dedicated knobs across the top of the unit. Shimmer dials in the up-octave sound, Decay, Tone, and R. Mix are all standard.
For each delay, there is a Feedback, Time, Tone, and D. This covers the primary function and would probably leave you set for life among just those options.Enter looper mode by holding down the Delay A and Delay B footswitches simultaneously, whereupon the Menu knob becomes a master level for the loop playback.
If you hold down the Reverb and Delay B footswitches simultaneously, you enable tap tempo. This launches into global tap tempo, adjusting the rate for both delays, but if you press Reverb again, you can set different tempos for each delay.Ins and outs cover all you’d ever need, including an expression input, stereos ins and outs, and MIDI in and through for remote triggering purposes. To top it all off, you can change the order of effects however you like, saving presets into a total of 24 slots. What’s nice about the way they’ve constructed this is that you could feasibly use it for an entire career without needing to dive into the on-screen Menu options.
But for the price, you’ll certainly want the ability to dig deeper.Consider to find used examples or sell your gear toward a purchase.Specs:. Delay type: Digital, Analog, Tape, Echo, Liquid, Rainbow, Crystal, Low-Bit, Fuzzy, Real, Dyna, Galaxy, Tri-Mod, Mod-Inv. Delay time: Up to 2,000 milliseconds.
Tap tempo?: Yes. Expression input?: Yes. Stereo outs: Yes. True bypass?: Yes. Reverb type: Room, Hall, Plate, Distorted, Flanger, Filter, Reverse, Spring, Modulated.
Mechanism for separating delay and reverb: Footswitch and dedicated mix knobs. Wth the exception of the Canyon, all the pedals on our list pretty much fall into two camps: boutique handmade pedals and slightly overengineered Chinese modelers. All of them are great pedals, of course, but if all you want is strictly reliable functionality, you must also consider something from Boss. The latest in their line of excellent, tried-and-tested digital reverb pedals is the RV-6, which, in addition to seven modes of the expected reverb types has a +Delay setting.That’s not entirely new to the RV line, as the RV-3 offered both (it was even called the Digital Reverb/Delay), but now that functionality has returned in a fully modern offering. The RV-6 is also better than its predecessor due to the presence of stereo ins as well as outs and an expression pedal input. Input A passes through your dry path in addition to the reverb sound in mono mode, while Input B is wet only, which gives you options for routing and can make for a huge sound. Also, unlike Chinese counterparts, operation is virtually silent.Controls on the RV-6 include the Mode knob for selecting between the eight modes of Modulate, Spring, Plate, Hall, Room, Dynamic, Shimmer and +Delay, as well as Effect Level, Tone, and Time.
Dead simple to use, just as with most Boss pedals.Two notable drawbacks, depending on your needs: 1. It’s not true bypass. Still, Boss buffers are pretty good and a large board will actually benefit from these. The trails cannot be defeated.
It will ring out even after you disengage the effect.This is certainly the best of the compact reverbs Boss has ever made and offers functionality to rival any competitor. Within the Boss family, you can go a step (or 12) further with the, which also has delay hiding under the hood, should you need it, but of course is a mega-verb and thus is both much more expensive and more complicated to use.Consider to find used examples or sell your gear toward a purchase.Specs:. Delay type: Digital.
Delay time: Unknown. Tap tempo?: No. Expression input?: Yes.
Stereo outs: Yes. True bypass?: No.
Reverb type: Modulate, Spring, Plate, Hall, Room, Dynamic, Shimmer and +Delay. Mechanism for separating delay and reverb: Delay is one of the reverb modes.