,,-\*$§@## ##@§$*\-,,
,,-\*$§@## ##@§$*\-,,
,,---\*$@@ @@$*\---,,
,,-\*$§@## ##@§$*\-,,
,,,,--\$@# #@$\--,,,,
,,-\*$§@## 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. ##@§$*\-,,
,,-\*$§@## ##@§$*\-,,
,,-\*$§@## ##@§$*\-,,
,,,,,,-\*§ §*\-,,,,,,
,,-\*$§@@# #@@§$*\-,,
,,-\*$§@## ##@§$*\-,,