Just to be clear, I think that the High Noon patch should give you the right idea.
I think that one approach to appreciating the “Delay Looper Sync,” is to use it as a standard guitar looper. Then start to inject features by using other modules once you understand this basic technique.
At base, you want to be able to record so may bars, then have that recording diminish over so many more bars. This is possible just by having the loop the right length, and having it synced to the clock. The “feedback” parameter will control how it diminishes.
The nice thing about @biminiroad’s implementations is that he broke down the elements, but also provided several alternative delay modules. I feel like this is a very crucial way to build a library. There needs to be a standardized way to sync, etc. Then it allows for a more modular approach. So you can not only use a “Delay Looper Sync” to control the delays, but also use the “delay tempo sync” to give musical divisions to more immediate delay applications.
When you pair this with the master clock designs, you get that nice speed you want when producing. At the same time, we are not working in a daw with plugins.
This is actually really exciting. Think about mastering. It is possible to go from ingredients to package right in Audulus, because you can use synthesis techniques to do the mix engineering (applying a wavefolder instead of EQing and then amplifying/compressing drums, would be one example).
If you ware still unsure, just ask a more direct question. Also, I see two fun directions:
- Keep moving toward Chase Bliss guitar pedal patches.
- Head towards some of the “sampling” workaround patching we were talking about.
I will be doing both.