Published by PitchChanger · Updated · How these guides are made
How to use this workflow
Make a repeat easy to hear
Use a short isolated sound with silence after it. Turn reverb off for this comparison so its tail does not hide the delay.
Compare mix at one feedback setting
Keep delay time and feedback unchanged. Change only delay mix and compare dry sound with the delayed path.
Compare feedback at one mix setting
Restore the chosen mix, change feedback alone and listen after the first echo. Check the downloaded file, especially near its end.
A repeat-level calculation separates the two controls
In an ideal linear feedback loop, each repeat is multiplied by feedback f. Relative to the first delayed repeat, repeat n has amplitude f^(n−1). At f = 0.5 the second is 0.5 and the fourth is 0.125 of the first; at f = 0.8 they are 0.8 and 0.512.
These are calculated amplitude ratios, not measured loudness or a claim about every delay implementation. Filtering, the dry/wet blend and final peak protection can change the actual result. The useful distinction is that reducing the wet level scales the echo path without choosing the decay ratio.
Swipe or scroll sideways to read all columns.
| Feedback f | First repeat | Second / first | Fourth / first |
|---|---|---|---|
| 0.2 | 1 | 0.2 | 0.008 |
| 0.5 | 1 | 0.5 | 0.125 |
| 0.8 | 1 | 0.8 | 0.512 |
Choose the control from the symptom
If the first echo interrupts a spoken syllable but later echoes already die quickly, first lower delay mix. If the first echo is useful but repeated words keep stacking up, lower feedback. If every echo lands between the intended beats, change delay time instead.
Use the same passage and playback volume for each comparison. A louder wet path can seem fuller even when it makes the words less clear. For a sustained source with no silence, make a short diagnostic copy with an exposed ending so you can hear the decay.
Check the tail rather than promising endless repeats
The current controls are delay time 0.01–2 seconds, feedback 0–0.95 and delay mix 0–1. They are manual controls, without an automatic BPM-sync switch. Reverb has its own mix and decay controls.
Reverb & Delay exports WAV or MP3 and adds a bounded tail. Listen to the final repeats in the saved result. If a very persistent setting ends abruptly, lower feedback or finish the tail in an external editor. A high feedback value is not an instruction to generate an infinite file.
Common questions
Can more mix create more repeats?
It can make quiet repeats easier to hear, but feedback determines their recurrence and decay in the delay loop.
Is feedback 0.5 half as loud to a listener?
No. Here 0.5 is an amplitude multiplier in the loop; perceived loudness depends on the sound and listening conditions.