@@@£%^*=-, ,-=*^%£@@@
##@£%^*=-, ,-=*^%£@##
@%^=-,,,,, ,,,,,-=^%@
@%%^=-,,,, ,,,,-=^%%@
###@%^*=-, ,-=*^%@###
##@£%^*=-, delay delay d,la# £ ^a, - ,@ = - ,-=*^%£@##
##@£%^*=-, ,-=*^%£@##
@@£^^^*=-, ,-=*^^^£@@
@@@£%^*=-, ,-=*^%£@@@
@@%*-,,,,, ,,,,,-*%@@
£^=,,,,,,, "delay" means repetiton or likewise, ,,,,,,,=^£
@@@£%^*=-, but it's mainly useless without ,-=*^%£@@@
##@£%^*=-, feedback, ,-=*^%£@##
#££%*=-,,, to allow the delay to eat of it's own ,,,-=*%££#
##@£%^*=-, tail, like one of those eaty serpents. ,-=*^%£@##
@%%*-,,,,, thus: it's the serpent effect! ,,,,,-*%%@
###£%^*=-, ,-=*^%£###
£%%^^^*=-, it's to be revered as a creator of ,-=*^^^%%£
##@£%^*=-, ambience and of space, if you treat it ,-=*^%£@##
##@£%^*=-, right. a somewhat more solid and ,-=*^%£@##
##@£%^*=-, slippery sibling of reverb. ,-=*^%£@##
##@£%^*=-, ,-=*^%£@##
@%%*--,,,, ,,,,--*%%@
£^*-,,,,,, ,,,,,,-*^£
@%%%*=-,,, ,,,-=*%%%@
@££%%^*=-, ,-=*^%%££@