Threepeat helps you create depth, rhythm, and atmosphere with three delay engines built for creativity. Whether you need stereo depth, rhythmic repeats, or lush echoes, Threepeat makes delay fun, fast, and musical again. No convoluted routing. No confusing modulation. Just instant results—whether you’re working on your first demo or your next release.
From vintage digital echoes to modern evolving modulation motion
From vintage digital echoes to modern evolving modulation motion
Slapshot is a slap delay designed to add instant depth, width, and character, without the mud that often comes with reverb. With built-in processing under the hood, it keeps the effect clean, controlled, and easy to blend, making your tracks sound polished in seconds.
The Echorec is a software emulation of the iconic echo/delay unit of the same name produced by the Italian brand Binson in the 1960s. The sound of this magnetic disk delay differs from the tape delays used at the time, and has largely contributed to the audio signature of many 70s bands: Pink Floyd, The Shadows, Jimmy Page etc. Vintage Echorec devices are known for their saturation, self-oscillation, and oversound, all shaping the music produced in the 70s. They are also, however, known to be fragile and difficult to maintain.
Yury Semenov is an independent Russian developer who has gained recognition in the music production community for his extensive collection of free audio plugins. Designed for Windows and macOS, his VST and AU tools offer professional solutions at no cost, ideal for producers, sound engineers, and sound designers looking for quality without compromising their budget.
Slap back delays, repeating echoes, static flange, doubling, short feedback reverbs, distortion; all of this and more is possible with the Tube Delay Station. Delay times range from .2ms to 1.884 seconds, with choices in increments between .2 to 4ms, depending on the time range. The delay itself can be set to any of 63 different sampled tones, each with different frequency response profiles. Many filter the lows and/or highs in various ways, but some are almost perfectly flat, so there’s a lot of variety. There are also 9 sampled distortions you can combine with the main tones, for some subtle thickening, noticeable grit, or complete destruction. When using feedback along with a tone selection that filters the input, the repeating echoes get filtered more and more with each repeat. This can be used to produce evolving sonic textures and washes of sound. The pan control allows panning of the delay, and of course with feedback, each repeat moves further and further away from the center.
