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