The upper left portion is tabbed, only one of the four lines being visible at one time. The GUI, seen in the image at the top of this page, is clean and easy to program. I can’t spot any permutation that’s been left out. We see that we can configure a Sigmund preset to use the lines in parallel, in series, or in some combo-mode where some lines get input from the source, some input from another line, some lines route output to the mixer, some route to another line and some route to both. There are nine different routing topologies shown in the following graphics: Sigmund is a four-line delay in which individual lines can be routed to the output mixer, another line or both. List price (more about pricing later) is $89 USD.
#D16 sigmund software#
It’s available from the vendor and various music software on-line stores.
#D16 sigmund Pc#
The Delay, named Sigmund (why that name … I have no idea) is available for use on PC or Mac, both 32 and 64-bit, VST or AU compatible (VST-2 only, not VST-3). The Big Pictureįirst, let’s get the fundamentals out of the way. With all the options already in the marketplace, should we even care? Well, when the vendor is the D16 Group, the informed answer will be “absolutely!” The D16 Group has a well-earned reputation for high-quality audio software and any new product they release is definitely worth a serious evaluation. Granted, humble, basic delays might supply all the capability you need 90% of the time or more, but super delays can bring something different and exciting to many a mix that you wouldn’t be able to achieve with even the most creative use of sends and/or effects chains.Īnd now we have yet another entrant in this category. This has become a crowded field.Īlthough there might be only moderate architectural similarity between the various offerings, there is plenty to choose from if you’re in the market for a delay that can do more than the basic delays packaged with any DAW (or most synths for that matter).
I’ve probably left one or more of the alternates out, but you get the idea. Four years later, Rob Papen offered his take on the concept, and a year ago FXpansion came out with Bloom. Fab Filter entered the fray with Timeless in 2006.
To the best of my knowledge, the first effect in this class was the More Feedback Machine (MFM) from u-he which debuted about eleven years ago. Super delays delivered basic delay effects processing but sported new and unusual bells and whistles that could include multiple lines with flexible signal paths, distortion, modulation (envelopes, UFOs, step sequencers, etc.) and anything else the developer/designer could dream up. A little over a decade ago we started to see the emergence of what I’ll call here the “super delay”. With computer-based music production becoming prominent, things started to change. You got delay, optionally with feedback, and maybe filtering of the fed-back signal, either naturally via the medium (e.g., tape) or electronically. Until approximately ten years ago, delays were pretty basic. D16 Groups new delay, Sigmund, has everything going for it: great capabilities, superb documentation, and innovative presets? What’s not to like? We couldn’t find a single thing.ĭelays have been go-to effects in the world of recording for well over half a century.
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