Joranalogue DELAY 1 User manual

DELAY 1
SPLIT-PHASE BUCKET
BRIGADE DELAY LINE
1
INTRODUCTION
While digital audio processors are often plagued
by latency issues, analogue circuits are known for
their instant response. But what if you want to
delay a signal on purpose, without the use of
tape or digital memory? Enter the bucket
brigade delay (BBD) line: a series of capacitor
‘buckets’, which pass the incoming signal along
at a high rate in order to delay it.
Delay 1 is a fully analogue BBD-based delay
module with a multitude of features geared
towards modern musical use. An integrated
temperature-compensated, high-frequency
voltage controlled oscillator (VCO) provides the
‘clock’ signal necessary to drive the delay line
within 1 to 50 ms.
By increasing the drive frequency to over 20 kHz,
the typical ‘BBD clock whine’ problem is solved,
while still providing a wide range in delay time.
Classic chorus, flanger and echo effects are easily
achieved using the dry/wet blend, feedback and
damping parameters.
To greatly reduce distortion and noise, Delay 1
includes a newly developed control circuit. The
improved fidelity is maintained at a multitude of
signal levels by an integrated high-performance
compander, while preserving signal dynamics.
The module’s ‘split phase’ topology provides two
different dry/wet mixes, which may be used to
convert mono signals to stereo, for
complementary comb filtering and more.
Delay 1 also allows you to experiment with
Karplus-Strong synthesis, an exciting technique
to create string and percussion type sounds. This
is made easy by an integrated noise transient
generator, driven by the ‘pluck’ input, and by the
clock VCO’s 1 volt per octave response.
By re-engineering the classic analogue delay line,
Delay 1 brings the unique magic of BBDs into the
contemporary electronic musician’s arsenal.
CONTENTS
In the Delay 1 box, you’ll find:
Product card, stating serial number and
production batch.
16-to-10-pin Eurorack power cable.
Mounting hardware: four black M3 x 6 mm
hex screws, four black nylon washers and a
hex key.
The Delay 1 module itself, in a protective
cotton bag.
If any of these items are missing, please contact
your dealer or [e-mail].

DELAY 1
SPLIT-PHASE BUCKET
BRIGADE DELAY LINE
2
CONTROLS & CONNECTIONS
1 COARSE AND FINE DELAY TIME KNOBS
The length of the delay line is determined by
these knobs, with a range of 1 to 50 ms. The most
clockwise position corresponds to the shortest
delay time. The fine knob’s range is 10 % of the
coarse knob.
2 VOLT PER OCTAVE TM INPUT
This input is used to modulate the delay time in
an exponential fashion, with a standard 1 volt per
octave response. This means that each additional
volt of CV will halve the delay, making it possible
to use Delay 1 as a precise synthesis voice.
3 TIME MODULATION INPUT AND KNOB
This second exponential TM input includes a
polariser knob to set the modulation depth, with
0 in the centre, +1 volt per octave maximum and
−1 volt per octave minimum.
4 BLEND KNOB
The blend knob is used to set the ratio of ‘dry’
(unprocessed) and ‘wet’ (delayed) signal, mixed
together into the positive and negative outputs.
When centred, a 1:1 mix is created, ideal for deep
comb filtering or chorus effects. The fully
clockwise 100 % wet setting, meanwhile, is more
suited for flanger or Karplus-Strong use.
5 BLEND MODULATION INPUT AND KNOB
The blend ratio can be modulated through this
input, with +5 V corresponding to 100 % wet. The
modulation knob range is bipolar.

DELAY 1
SPLIT-PHASE BUCKET
BRIGADE DELAY LINE
3
6 FEEDBACK KNOB AND POLARITY SWITCH
An integrated feedback loop sends the delayed
signal back into the input. At short delay settings,
this results in resonances, while echo effects are
achieved at longer delay times. This knob sets the
amount of feedback, from 0 to (nearly) 100 %.
The feedback can be inverted by setting the
polarity switch in its ‘anti’ setting. This results in
different timbres compared to the more typical,
in-phase feedback, also known as ‘regeneration’
(switch setting ‘sum’).
Note that delay line feedback is unique in that
the entire content of the delay ‘memory’ affects
the timbre; hence, repeatedly adjusting the
feedback path may result in different sounds
being created every time.
Additionally, high amounts of feedback will
result in audible saturation of the feedback
signal path. This can be used as a deliberate
effect, creating additional ‘ringing’ harmonics.
7 FEEDBACK MODULATION INPUT AND KNOB
The feedback amount can be modulated
through this input, with +5 V corresponding to
maximum feedback. The modulation knob
range is bipolar.
8 DAMPING KNOB AND RESPONSE SWITCH
The feedback path contains an integrated
voltage controlled filter—a useful feature to
attenuate certain frequencies before they are
returned to the delay line’s input. This knob
changes the corner frequency of the filter, within
the range of 22 Hz to 22 kHz.
The filter response may be switched between
lowpass and highpass. In both cases, turning the
knob further clockwise will increase the amount
of (frequency-dependent) attenuation, starting
from minimum. In other words, the direction of
the frequency sweep is opposite for both
settings.
9 DAMPING MODULATION INPUT AND KNOB
The damping can be modulated through this
input, which includes a polariser knob to set the
modulation depth, with 0 in the centre,
approximately +1 volt per octave maximum and
approximately −1 volt per octave minimum.
10 SIGNAL INPUT
Connect the audio signal to be processed here.
11 HIGH FREQUENCY INPUT AND OUTPUT
While Delay 1 is normally driven by its own high-
frequency (HF) VCO, creating the ‘clock’ signal
required to drive the bucket-brigade delay chip,
it is possible to use an external signal to override
the internal delay time control.
Simply plug the signal into the HF input. For the
best results, this should be a square wave with a
50 % duty cycle and a voltage swing of at least 0
to +5 V.
The recommended frequency range is 20 kHz to
1 MHz. Below this range, longer delay times can
be achieved, but the clock will become audible
as a high-pitch whine. Frequencies above this
range enable extremely short delay times, but
with poor audio fidelity. To keep noise and
distortion to a minimum, a high-stability clock
source is required.
Since the internal HF VCO is disabled once a
cable is plugged into the HF input, the coarse
and fine knobs will become non-functional, as
well as the time modulation CV inputs. In this
case, time control is fully driven by the external
signal applied to this input.
A buffered copy of the square wave clock signal
(either internal or external) is always available
from the HF output. This is useful to time-
synchronise two or more Delay 1s; for example, to
create a stereo pair. This output alternates
between +5 V and 0 V.

DELAY 1
SPLIT-PHASE BUCKET
BRIGADE DELAY LINE
4
12 PLUCK INPUT
Delay 1 includes a built-in noise transient
generator to create Karplus-Strong sounds. This
form of synthesis makes use of delay line
feedback, rather than oscillators, to create
unique tones. To use this feature, first set the
feedback to a moderately high setting with no
damping.
A rising edge at the pluck input, reaching above
+3 V, will ‘strike’ the delay line, creating a string-
like sound. The frequency, decay time and
timbre are set by the delay time, feedback and
damping parameters.
13 DELAY OUTPUT
The delayed signal is available via this output
socket. It has no mixing functionality, so the
blend parameter will not affect it—it is always
fully ‘wet’.
14 BLEND OUTPUTS
These are the module’s main outputs, providing
two different mixes of the unprocessed ‘dry’
signal and the output of the delay line.
The negative output mix consist of the difference
between the wet and dry signals, while its
positive counterpart provides the sum. The blend
parameter determines the mix ratio for both
outputs.
This split-phase topology greatly enhances the
module’s versatility. For example, it means you
can use Delay 1 as a mono-to-stereo converter, as
this creates the left/right difference necessary for
a stereophonic sound field. Additionally, when
the module is configured as a comb filter, these
outputs will provide opposite filter responses.
15 VOLT PER OCTAVE TRIMMER
This trim potentiometer is used to calibrate the
module’s pitch tracking. Since it is accessible
from the front panel, calibration can be easily
performed without removing the module from
the system. Each module is individually
calibrated during production; do not adjust this
trimmer if not needed.
Should you find your Delay 1 to be out of tune, set
the range switch to the audio range, the coarse
frequency knob to its minimum setting and the
fine knob fully clockwise.
Make sure Delay 1 has been powered for at least
20 minutes at a stable ambient temperature.
Now connect the high-frequency output to a
calibrated digital tuner through a ÷1024
frequency divider suitable for signals up to 1 MHz.
During the tuning process, the volt per octave
input should be continually switched between
0 V and a precision +4 V source, toggled
automatically or by hand. Leave all other inputs
unpatched.
Using a dedicated trimming tool or standard
2.5 mm flat screwdriver, adjust the trimmer until
the interval between both states is exactly 4
octaves. For example, if 0 V corresponds to a
pitch of C1 + 23 cents, +4 V should yield C5 + 23
cents.
16 FEEDBACK TRIMMER
The second trim potentiometer sets the
maximum amount of feedback. If calibration is
necessary, set the coarse knob to its maximum
position and fine fully anticlockwise. Also set
damping to minimum, feedback amount to
maximum and the switches to high and anti.
Apply a downwards sloping saw wave of
frequency 2 Hz and amplitude 10 Vpp to the main
signal input. Now, adjust the feedback trimpot
until the high-frequency ringing of the BBD is
just barely audible on the delay output.

DELAY 1
SPLIT-PHASE BUCKET
BRIGADE DELAY LINE
5
SPECIFICATIONS
Module format
Doepfer A-100 ‘Eurorack’ compatible module
3 U, 12 HP, 30 mm deep (inc. power cable)
Milled 2 mm aluminium front panel with non-
erasable graphics
Maximum current draw
+12 V: 125 mA
−12 V: 95 mA
Power protection
Reverse polarity (MOSFET)
I/O impedance
All inputs: 100 kΩ
Analogue outputs: 0 Ω (impedance comp.)
High-frequency output: 50 Ω
Outer dimensions (H x W x D)
128.5 x 60.6 x 43 mm
Mass
Module: 170 g
Including packaging and accessories: 245 g
SUPPORT
As all Joranalogue Audio Design products,
Delay 1 is designed, manufactured and tested
with the highest standards, to provide the
performance and reliability music professionals
expect.
In case your module isn’t functioning as it should,
make sure to check your Eurorack power supply
and all connections first.
If the problem persists, contact your dealer or
send an email to [e-mail].
Please mention your serial number, which can be
found on the product card or on the module’s
rear side.

With compliments to the following fine people,
who helped to make Delay 1 a reality!
Ben ‘DivKid’ Wilson Bernhard Rasinger
Björn Jauss Boris Uytterhaegen
Daniel Miller Erwin Van Looveren
Frits Jacobs Hannes d’Hoine
Janus Coorevits Jeroen De Pessemier
Konstantinos Fioretos Kris Vanderheyden
Lieven Stockx Quincas Moreira
Simon ‘BRiES’ De Rycke Yves De Mey
Delay 1 User Manual
version 2023-05-17
21st Century Analogue Synthesis—Made in Belgium
© 2022—2023
[e-mail]
https://joranalogue.com/