Full panel mockup · Delay's real parameters
The same shell as Pan, carrying a harder load: seven parameters per zone instead of four — time, fdbk, mix, hipass, lopass, mod, rate — plus per-zone mode, sync and div. Loaded with the shipping defaults, so Low starts tight and dry and High starts long, wet and bright.
Note-aware delay. Each pitch zone keeps its own time, feedback and colour — so the low end can stay dry while the top of the chord repeats.
© 2026 Toniq Audio
Trial · 14 days left
Pan needed four columns; Delay needs seven. Nothing about the cells, knobs, trays or plates changed — only the grid. Time, Feedback and Mix shape the echo so they lead in wider columns; HiPass, LoPass, Mod and Rate colour and move it, and sit after a heavier rule at a smaller size. Rank encoded as width, not as a heading.
Where Pan showed each note's position in the stereo field, Delay shows its position in time — one dot per sounding note on a 0 to 1.2 s axis, at the delay its zone actually gives it. The same component answering the same question for a different effect, which is the argument for building it once.
Turn Sync on in the tray and the Time column's depth slider becomes a note-division picker, because that is what Time now means. The control that changes is the one whose meaning changed — no second row appears and nothing else moves.
The chassis is a true neutral — R = G = B at every step — so the only colour on the panel is the zones. Delay's ramp is teal → emerald → lime, against Pan's cyan → fuchsia and Reverb's ember → yellow-hot. Same construction in all three: hue family per plugin, lightness always climbing with pitch, so a bright key means a high note wherever you are.
Everything per-zone: which zone, its range, Solo, its stereo mode, and Sync. Delay has three per-zone settings that Pan does not, and they landed in the tray without a new section — which was the point of giving the zone context a home of its own.