Applied Acoustics Systems Objeq Delay by Tommy Zai
Objeq Delay is everything a virtual delay effects plugin should be . . . PLUS unique features that only Applied Acoustics Systems could deliver — combining a filter and acoustic resonators (objects) with a delay unit. This provides users with a wider palette of effects, timbres, and tones with crisp clarity. Repeats (from a tight slap-back to infinite) are free of the exponential mud that drag many units down. The interface is inviting and reveals a simple, yet effective signal/work-flow.
SIGNAL FLOW (Chapter 2 of the user manual provides a clear illustration)
The input signal travels through a low-pass/high-pass filter and acoustic resonators (the Object module), which makes the object resonate. The signal then enters a two stage delay (Pre and Echo). The resonances and delay are processed to the primary signal in real time. The signal balance is determined at the output via the Mixer module. There is also an LFO to help shape the pre-filtered tone — Types include: Sine, Triangle, Square, Random, and RdmRamp.
1. LFO: This can be automated or tweaked manually. The modulation destinations include the usual suspects, i.e., chorus, flanger, tremolo, vibrato, as well as auto-filter modulation effects.
2. Filter: Filtered echoes for added fullness and movement. Sounds especially cool on rhythm guitar and other chordal things. The filter module provides flexibility by shaping the resonance of one of the objects selected.
3. Physical Object: Shapes the tone prior to delay.
4. Delay: There are two delay lines. The first is a pre-delay. It is used to create a delay between the dry signal and the filtered signal from the Object. This stage allows users to tweak the low and high frequencies and add acoustic object res*onances. The second is a feedback loop that can create Echoes, hence the name.
5. Mixer: Balance, Output, Out/In.
Note: Each module may be activated or inactivated.
The meter is located on the far right with numerical Db values and color-coding (green, yellow, orange, and red).
The preset management system is conveniently located across the top bar. The presets themselves are very useful straight-up or serve as a great start-point for custom control — and they load super fast. I really dig the preset management — banks and programs can be accessed either by up one/down one or a drop-down menu. There is also a History arrow to help users. Auditioning sounds is fast and simple. I created a basic vocal loop and easily scrolled through the seven banks of programs (presets).
In total, there are 226. ECHOES contain standard and creative delays, many of which have some filtering. MODULATORS contain wet and wild motion. On the subtle end there are chorus’, flangers and tremolos; on the not-so-subtle end there are waves of sweeps and swells along with pounding pulses and bubbling flutters. RHYTHMIC LOOP MANGLERS contains alternation, wideners and other effects that are perfect for mutating incoming percussive loops into a newfound pulse of gyration. KICK TRACK ENHANCERS deliver extra pow, puff, punch, and wobble. SNARE TRACK ENHANCERS bring resonance and snap with overtones that range from plastic to wood. DRONES can be swirling and surreal. The combination of the resonator and LFO create otherworldly, evolving modulation for atmospheric, mysterious ambient textures. RICHARD DEVINE SIGNATURE designed a bank of presets that are geared (pun intended) toward cool, crisp metallic industrial, EDM, and soundtrack. There are several glitches and dreamscapes.
• Easy purchase, install, and authorization
• Clear, concise, well-written .pdf user manual for reference, but probably not needed.
• Neat, clean interface
• Intuitive preset management system
• Small digital footprint (about 10MB) with super low CPU hit (meter barely moves)
• Simple, yet powerful
• Cool developers
• Unique features to justify purchase
• The Objects provided are sensational, but I’m greedy and want more!
• Scalable interface?
In addition to the pristine quality and all the things an electronic musical wizard would desire, this unit boasts features that set it apart. Nowadays, it’s easy to find virtual delay that will sync to tempo, ping pong, slap-back, etc.; however, this plugin shines is in it’s ability to combine a filter and acoustic objects with a delay. Even if another company released a plugin with this combination, it’s unlikely they would do a better job at the modeling segment than AAS. How many electric piano plugins compare with Lounge Lizard? Objeq is perfect for anyone looking for a distinctive delay that is musical, inspiring, and sui generis (I recently learned this word and this is a perfect place to use it). I give this fine effect an affectionate double thumbs up — Love it! Thank you, Applied Acoustics Systems, for developing this effects gem!