.,~/%*§@##                                          ##@§*%/~,.
..,~/%*§@#                                          #@§*%/~,..
.,~/%*§@##                                          ##@§*%/~,.
..,~/%*§@#                                          #@§*%/~,..
.,~/%*§@##                                          ##@§*%/~,.
..,~/%*§@# 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.              ##@§*%/~,.
..,~/%*§@#                                          #@§*%/~,..
.,~/%*§@##                                          ##@§*%/~,.
..,~/%*§@#                                          #@§*%/~,..
.,~/%*§@##                                          ##@§*%/~,.
..,~/%*§@#                                          #@§*%/~,..