,^=\§*£#@#                                          #@#£*§\=^,
,,,,,,,=§£                                          £§=,,,,,,,
,^=\§*£#@#                                          #@#£*§\=^,
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,,,,,==§£@                                          @£§==,,,,,
,,,,=§§§*# 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.              ###£*§\=^,
,^=\§*£#@#                                          #@#£*§\=^,
,,,^==\\*£                                          £*\\==^,,,
,^=\§*££££                                          ££££*§\=^,
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,^=\§*#@##                                          ##@#*§\=^,