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ClonEchoes Dual Delay Effect VST VST3 Audio Unit Plugins: Doubling Echo, Slapback Echo, Ping-Pong Delay, Analog Tape Delay, Bucket Brigade Delay, Canyon Echoes, Shimmer Delay, Dark Delay, Tempo-Sync Delay, Tube Driven Tape Echo. Windows / Mac

ClonEchoes is a dual delay effect plugin, which stores an input signal and plays it back after a certain amount of time, creating from a subtle echo to a pronounced blending of previous sounds with new sounds.

Stretch your sonic horizons with a highly tweakable, versatile, and inspiring solution for ambience effects, that produces a hypnotic and complex repeats. Offers multiple controls for modifying one or both channels to produce a rich array of time-based effects.


  • Two simultaneous integrated delays that delivers rich echoes by providing a spaciousness and depth to create intricate and synchronized echoes.
  • Flexibility to control the left and right channels separately, for both processed and unprocessed signals.
  • ClonEchoes also works as a 'stereo enhancer' and 'mono-to-stereo creator', to produce a wide stereo image or stereoize a mono sound source. It improves the stereo image by adding a slight delay to one of the channels.
  • Delay Time manual or synced to host (Tempo Sync BPM).
  • 22 predefined effects, giving a virtually infinite number of possible delay times (manual or synced) and feedbacks:

Preset List:

  1. Analog Tape Delay.
  2. Bucket Brigade Delay.
  3. Canyon Echoes.
  4. Cloned Delay.
  5. Cosmos Echo Panning.
  6. Crypt Echoes.
  7. Dark Delay.
  8. Doubling Echo.
  9. Encapsulated Delay.
  10. Infinite Echoes Spread.
  11. Metallic Delay.
  12. Panned Delay.
  13. Ping-Pong Delay.
  14. Repeater Delay.
  15. Shimmer Delay.
  16. Slapback Echo.
  17. Somber Tunnel Delay.
  18. Subtle Widening Delay.
  19. Sync Bounced Delay.
  20. Sync Tube Tape Delay.
  21. Tempo-Sync Delay.
  22. Tube Driven Tape Echo.


  • Dry Signal Output (Left and Right): It independently controls the left and right channels 'dry' (unaffected) signals.
  • Preset Manager: 'Browser' to load and save presets and banks, enabling to export to *.fxp (VST2 Preset), *.fxb (VST2 Bank), *.vstpreset (VST3 Preset), *.aupreset (Audio Unit Preset) plus two generic formats (plain text): the *.xmlpreset (XML Preset) and the *.xmlbank (XML Bank).
  • Wet Delay Stereo Shaping (Left and Right): It independently controls the left and right channels wet signals. Turn the knob clockwise to increase the wet signal or counterclockwise to decrease it.
  • Feedback (Left and Right Channels): Regeneration of delay. By increasing the amount of signal sent back through (or fed back, or regenerated) the number of repeats is increased Individually for left and right channels. Turn the knob clockwise to increase the rate or counterclockwise to decrease the regeneration. Also feedback can be entered by typing in the desired amount in the text box of each left or right channel.
  • Time (Left and Right Channels): Controls the delay time. The value can either be in milliseconds or in bar divisions if the Tempo Sync (BPM) is switched ON.
    • Manual Time (Left and Right Channels): This knob sets the delay time manually. Controls the speed of the effect when not synchronized to host tempo. Improves the stereo image by adding a slight delay to one of the channels. Time can be entered by typing in the desired amount in the text box of each left or right channel in milliseconds.
    • Tempo Sync (BPM) ON/OFF:
    • OFF (Default) makes no synchronisation. Time is set by the user by 'Manual Time' knob.
    • ON allows to sync the delay tempo to the host. Controls the speed of the synchronized effect to the project tempo, including tempo changes. Also is mapped to control the delay subdivisions for some tempo synced delay changes. Switch options have programmed subdivision, it goes from 1/1 to 1/16 triplet.
    • Bar Divisions (Combo Box. Left and right channels): Used with 'Sync Time (BPM)=ON' makes the Delay time sync to the host BPM and allows specifying delay times in musical note durations. Independently control the left and right channel signals. Default 1/1 in both L/R channels.
    • Range: 1/1, 1/2, 1/2D, 1/2T, 1/4, 1/4D, 1/4T, 1/8, 1/8D, 1/8T, 1/16, 1/16D, 1/16T. Improve the stereo image by adding a slight delay to one of the channels.
    • T = Triplet: Delay time equal to 2/3 of the duration of the selected vote value.
    • D = Dotted: Delay time equal to 3/2 of the duration of the selected note value.
  • Color Control: Turning the control up, provides additional high-end presence in the delay effect.
  • Resonance: Slightly emphasize or suppress portions of the signal above or below the defined color/tone frequency.
  • Tone Control: Changes the tone of the delay by taking over high frequencies. At times subtle, these changes can alter the timbre or quality of auditory sensations produced by the tone of a sound of delay, from dark to bright and everywhere in between.
    • Bright: A shimmering tone. Overbearing high frequencies. Treble emphasis (Fully clockwise rotation).
    • Warm: Well balanced, flat, neutral. Pleasantly spacious, with adequate tone (Tuning around the center position of the knob).
    • Dark: A tonal balance that tilts to tones of low (deep) frequency. Weak high frequencies (Fully counterclockwise rotation).
  • Presence combo box: Makes subtle changes to the delay character:
    • Stage 1: Tone delay is slightly attenuated. Provides a warmness tone.
    • Stage 2: Tone delay is slightly amplified. Something brighter in character.
  • Filter mode combo box: Switches the filter between lowpass, highpass, bandpass, or band-rejection filter types, offering a simple and effective tone control to shape and color the sound source.

Delay Presets Description:

  1. Analog/Tape Delay: Is inspired by classic analog delays using reel-to-reel tape loops, earliest delay types in the budding Rock and Roll era of the 1950s.
  2. Bucket Brigade Delay (BBD, Bucket Brigade Device) is a discrete-time analogue delay line, developed in 1969 by F. Sangster and K. Teer of the Philips Research Labs. The stored analogue signal is moved along the line of capacitors, one step at each clock cycle. The name comes from analogy with the term bucket brigade, used for a line of people passing buckets of water. In most signal processing applications, bucket brigades have been replaced by devices that use digital signal processing, manipulating samples in digital form. Bucket brigades still see use in specialty applications, such as guitar effects.
  3. Canyon Echoes: This delay focuses to emulates a gorge, deep cleft between escarpments or cliffs. Features a Tempo-Sync with Bar Division (L) = 1/4 and Bar Division (R) = 1/4T.
  4. Cloned Delay: It is a widespread delay effect to hold repeatedly with Tempo-Sync with Bar Division (L) = 1/2 and Bar Division (R) = 1/2T.
  5. Cosmos Echo Panning: A psychedelic modulation delay.
  6. Crypt Echoes: This delay effect simulates the acoustics of a large enclosure such as a a stone chamber containing coffins, sarcophagus, or relics.
  7. Dark Delay: A somber delay with an obscure tone.
  8. Doubling Echo: Is produced by adding short-range delay to a recorded sound. Delays of 30 to 50 milliseconds are the most common; longer delay times become slapback echo. Mixing the original and delayed sounds creates an effect similar to double tracking and can help greatly thicken up a vocal recording. It's also often used for recording guitar with a stereo effect.
  9. Encapsulated Delay: An enclosed delay with low pass filter.
  10. Infinite Echoes Spread: An repetitive echo with high feedback and manual time, bright tone and band pass filter.
  11. Metallic Delay: A brighter delay tone with Tempo-Sync with Bar Division (L) = 1/16T and Bar Division (R) = 1/16D and high pass filter.
  12. Panned Delay: A panning delay effect by switching between both channels, with Tempo-Sync with Bar Division (L) = 1/8 and Bar Division (R) = 1/16.
  13. Ping-Pong Delay: This type of delay 'pings' audio back and forth between the left and right channels, creating a wide stereo rhythmic effect. Useful to create syncopated rhythm lines that bounce from left to right.
  14. Repeater Delay: A repetitive echo effect with Tempo-Sync with Bar Division (L) = 1/8D and Bar Division (R) = 1/4T. Warm tone and low pass filter applied.
  15. Shimmer Delay: A glittering delay tone with high pass filter sharpening.
  16. Slapback Echo: Uses a longer delay time (75 to 250 milliseconds), with little or no feedback, often used on electric guitar, but can also be applied to drums or vocals. Most often heard in rockabilly and country.
  17. Somber Tunnel Delay: A closed tunnel shape with a shadowy delay with a dusky tone. Features a Tempo-Sync with Bar Division (L) = 1/8 and Bar Division (R) = 1/8T.
  18. Subtle Widening Delay: A delicate delay with a warm tone.
  19. Sync Bounced Delay: A Delay Tempo-Sync with Bar Division (L) = 1/1 and Bar Division (R) = 1/2, bouncing stereophonically.
  20. Sync Tube Tape Delay: Inspired on the legendary, tube, tape echo "Echoplex", a tape delay effect, first made in 1959 and designed by Mike Battle. Parameters setted: 'Sync Time' = ON, with Bar Division (L) = 1/1 and Bar Division (R) = 1/2.
  21. Tempo-Sync Delay: A Delay Tempo-Sync with Bar Division (L) = 1/4 and Bar Division (R) = 1/4D.
  22. Tube Driven Tape Echo: A delay to replicate properties of the great '60s tape delays.