Also I think it might be fine to have down to 0 time to have controlled flanger effects.
LFO speed why not up to 100hz?
2 blocks instead one. One for L second for R. And link option.
Ping pong with stereo separation.
Also why the time affects the way the output has high frequencies or something? Is it the way those older stuff worked?
Also noticed that on minimum times it makes like boosting some highs. I don;t know. Maybe a feedback never at 0 or?
Also I wonder why the chorusing effect is so differnt on different range options (with same time set). Maybe would be good to have knob for ranges? And also separate Range option for L R channel would give great stereo effect.
Awesome little delay with potential to have pretty powerful edition with things I mention above and more that could be.
I understand your wish for the suggested extensions. However, the aim of the Full Bucket Brigade Delay is not to compete with those feature-laden delay plug-ins roaming the VST universe ;-) but to provide an emulation of those old crappy devices from the past with all their simplicity and usability.
And yeah, this is the way the old boxes work. For example, a zero delay time e.g. for Through-Zero-Flanging is simply not possible since the signal always has to travel through at least a part of the bucket brigade delay line.
In fact my suggestion really is: Do not primarily use the Full Bucket Brigade Delay as a delay but as a lo-fi chaos effect! Turn Feedback to 100%, twiddle all the knobs (especially Time and Quality), and have fun. :-)
This delay is really charismatic. I've yet to use its modulation feature. (My experience of old delays is based on similar unit to this https://www.youtube.com/watch?v=1t5oGKshQ4Q), but the sound is really familiar.
I might open little secret here, but there are few great (free) delays:
Echolive (tap tempo!), Bionic Delay (Ultimate dub machine. It sounds so nice, its ridicilous)
and my favorite bunch: Arc Dev Industries ET series. ET-200 is particularly my beloved one. And I control it with 4 controls only (+ send buttons)! I mean, never forget, that full potential is uncovered after you use physical controls with plugins. 4 knobs were: Out level, Rate, Feedback, Tone. Of course there are input level, sync, mix and other controls, but these 4 are essential. One of the tricks I loved from that unit was smashing bass into delay with high input gain and hipassing signal. With low rate it becomes something like distortion, but only on high frequencies. Here's my point: on FBBD i could not recreate this feature. BBD delays never have such full low end as FBBD does, it usually gets thinned out, becomes midrangy distorted mess (which is super useful tool for - 140 db of softsynths and even some analog ones). The point of me writing all this: if you add another knob (or switch) for highpass, don't do it. What arcdev did was brilliant. I mean this EQ technique: https://www.youtube.com/watch?v=dSO9tMqaksk&t=454s.
From my experience, the less controls the better. You either playing, or twisting. If you play keys, there's no time to twist more then 2-3 knobs.
Anyway, FBBD is fun, but some sound refinement is needed. Particularly low-end character and transient. I think it leaves to much attack of the sound, not enough pronounced blur (obviously, this is side-effect of lower clock rates on actual hardware, but it has real musical value). Also ergonomics and range. Ergonomics mean smarter use of knobs (as with tilt eq, etc. super important for live use). As for range, typically, live instruments have more limited range, than studio. I find 500 ms not enough. At certain tempos its not even a 1/4. My hardware had same problem, and I opened it and adjusted trimpot with screwdriver till it gave me 1 minute or so (yes, its 60 seconds on BBD delay). It would be super fun to go 2x or 4x time, so the aliasing would be as loud as the sound. Now, +/- feedback is really bad design. I use sliders for things like level and feedback and its extra work to center them at 63 value. Wouldn't switch be more logical? I understand its for chorus setting, where it affects different frequency range, but for usual delay? No sense, because signals are phase-unrelated (unlike signals in 0-40 ms range). Repeats also don't degrade. BBDs degrade signal with each repeat + add noise (BBD chips are noisy by design, no workaround in hardware). Repeated signal should loose some of its frequencies and blur more. I imagine, that adding digital "jitter" would make it work like that. Also I haven't found if it distorts loud signals or not. Distortion is essential part of their sound. In hardware if signal is too low - you get too much noise, if too loud - distorted mess.
Anyway, I hope such feedback does something. I really love what you do and want it to be perfect. Bjorn, your chops in synth architecture is brilliant, but when it comes to dynamic processing, your plugins always lacking something...