{"product_id":"echolight","title":"Echolight","description":"\u003cp style=\"font-size:1.15em;line-height:1.55\"\u003eA stereo delay that dissolves into a cloud. One knob takes it from clean repeats on the beat, through a smear, to a shimmering reverb the echoes feed, with colour that builds on every repeat, echoes that bounce and orbit, a filter that moves with the tempo and your playing, and a tape stop.\u003c\/p\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eA delay that turns into a cloud\u003c\/h3\u003e\u003cp\u003eAn echo is a copy of what you played, arriving later and a little quieter. A reverb is the same idea taken to its end: so many copies, so close together, that they stop being copies and become a space. Most plugins put the two on either side of a switch. Echolight puts them at either end of one knob.\u003c\/p\u003e\u003cp\u003eWith Diffusion at zero it is a clean, honest delay: repeats on the beat, each a little darker than the last, and not a trace of the cloud computed. Turn it up and a wash grows around the repeats until they melt into it; keep going and only the cloud they feed is left, with the grains from Ghostlight Pro sparkling on top.\u003c\/p\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eHighlights\u003c\/h3\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eOne knob from delay to reverb\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eDiffusion blends the raw repeats, a smear of them and a cloud they feed. Dissolve sets exactly where on its travel the repeats vanish, so the knob can stay a delay for most of its range or melt early into a wash.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eColour that builds on every repeat\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eTone, Low Cut, Warm, Clipper, Wow and Flutter sit inside the loop, so the first echo is shaped once and the fifth five times, the way a tape echo's repeats wear with every pass.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eEchoes that move\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eDirect keeps a sound where it is; Ping-Pong bounces the repeats, with a swing that shuffles every other one; Orbit walks each repeat a step further across the field, and stays mono-safe.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eA filter page that moves\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eLow-pass, high-pass, band-pass, notch, comb, formant and ladder, after the loop or inside it, moved by an LFO locked to your song and by an envelope following your playing.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eNothing runs away\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eFeedback stops at 100%, everything that could lift a frequency sits outside the loop, and the filter never boosts anything while it is inside it. Two safety ceilings with no knob do the rest.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eTape where it counts\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eDragging Time bends the pitch as a tape delay does; a new note value crossfades instead. Hold Stop and the echoes wind down to a halt and spin back up when you let go.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eGrains from Ghostlight Pro\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eScatter, Grain, Shimmer, Tune, Air and Link work on the cloud, not on each echo, so Shimmer is a sparkling haze over a tail, and Link bursts the grains on every new note.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eEchoes that make room\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eDucking listens to what you play and pulls the echoes, the cloud and the grains down while you play, letting them swell back in the gaps.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eOff means off\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eEvery shaping control has a setting where it is not computed at all. At its defaults Echolight is a plain delay, to the bit, with zero latency.\u003c\/span\u003e\n\u003c\/div\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eOne knob from delay to cloud\u003c\/h3\u003e\u003cp\u003eDiffusion blends three things: the raw repeats, a smeared version of them, and a cloud fed by the repeats. At 0 only the raw repeats sound. As it rises they give way to the smear and the cloud, and at the top only the cloud is left.\u003c\/p\u003e\u003cp\u003eA raw echo left in the mix keeps its attack: even 12 dB under the cloud it still strikes again each time it arrives. So the repeats only stop reading as repeats once they are completely gone, and Dissolve decides where on Diffusion's travel that happens. The illustrations here are computed from Echolight's own code, so each one is exactly what the plugin does.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/echolight\/guide-dissolve.png\" alt=\"The display at four settings of Diffusion, from a plain delay to the cloud alone, drawn by Echolight's own display code\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eInside the loop, every repeat is changed again\u003c\/h3\u003e\u003cp\u003eA delay is a loop: what comes out goes back in. Anything inside the loop acts on every repeat again, so its effect compounds; anything after it hears the echoes but feeds nothing back. Echolight uses both on purpose. Tone, Low Cut, Warm, Clipper, Wow and Flutter build character pass by pass, while the cloud, the grains, the EQ and Ducking shape the whole wet sound without changing how many repeats there are or where they land. The Filter page lets you choose: In Loop, a low-pass darkens each repeat further than the last; After Loop, it shapes them all alike.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/echolight\/guide-loop.png\" alt=\"A low-pass In Loop darkens each repeat further; After Loop it shapes every repeat the same\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eIn the loop, the filter never lifts anything\u003c\/h3\u003e\u003cp\u003eA resonant filter normally stands well above 0 dB at its corner, and in a loop at Feedback 100% that frequency would grow on every pass. Echolight scales every filter type by its exact peak, so In Loop its highest point is 0 dB: resonance still rings, but no repeat is ever louder than the one before. After the loop a peak may stand up to 6 dB proud, and no more. The same rule keeps the EQ out of the loop altogether.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/echolight\/guide-ceiling.png\" alt=\"A resonant low-pass as usual, After Loop at most +6 dB, and In Loop never above 0 dB\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eDirect, Ping-Pong and Orbit\u003c\/h3\u003e\u003cp\u003eOne pill in the Delay section's title row cycles where the echoes go. Direct keeps each side echoing itself, so a centred voice stays centred. Ping-Pong bounces the repeats left and right, and Pong Swing holds every other one late, so the bounce shuffles while each pair stays on the beat. Orbit walks each repeat a step further across the field and back, a crossing every few repeats, without anything cancelling when the mix is folded to mono.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/echolight\/guide-modes.png\" alt=\"Where the repeats land in Direct, Ping-Pong with swing, and Orbit\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eMoved by the tempo and by your playing\u003c\/h3\u003e\u003cp\u003eThe Filter page's LFO uses the same feel-and-rate knob as Time and, while the song plays, follows the song's position, so a sweep lands on the same beat every playback. Six shapes, from a smooth sine to a random step that repeats the same way each time, and Spread to send the movement across the stereo field.\u003c\/p\u003e\u003cp\u003eAn envelope listens to your dry playing, never to the echoes, and opens or closes the filter as you play harder. The two add together, and the display draws the filter's real curve moving as you hear it.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/echolight\/guide-filter-motion.png\" alt=\"The LFO's six shapes, and two bars of a filter moved by a synced LFO and by the playing\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eA drag bends like tape, a jump crossfades\u003c\/h3\u003e\u003cp\u003eTurning Time glides the read head, and the echo's pitch dips while it moves, as a tape machine's does. A change too big to be a drag, a new note value, a new feel, a preset or a tempo step, crossfades to the new time in 20 ms instead, so going from an eighth to a quarter note never dives. Wow and Flutter drift the repeats irregularly, left and right independently, and Stop winds the echoes down to a halt and back.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/echolight\/guide-bend.png\" alt=\"The echo's pitch under a Time drag, measured through Echolight's engine, against a jump\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eA display that shows the echoes\u003c\/h3\u003e\u003cp\u003eThe display is a scope. Time runs left to right: a note is played at the left edge and its echoes travel out to the right, fading as they go. Up and down is the stereo field, L at the top and R at the bottom. One waveform on the centre line is the echoes' level; the dots are the repeats, each coloured by where it sits, cyan at hard left, near-white in the middle, magenta at hard right, and the bright one is where the sound is now. The line through them is the pan the engine is applying, so Direct draws two flat lanes, Ping-Pong a staircase and Orbit a sweep.\u003c\/p\u003e\u003cp\u003eThe pattern worked out from the knobs is always there, drawn faint, so a preset reads at a glance with nothing playing; as you play, the notes light their own echoes. The amber haze is the cloud, a gauge marks where Dissolve takes the repeats away, purple sparks are grains, and Ducking's pull shows in dB. A strip at the right draws the dynamic EQ's curve, steady and live, and the Filter page's curve beside it, both calculated from the same code the audio runs through. Checkboxes along the bottom take any layer away, and the whole display folds away from the header button.\u003c\/p\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eA filter with seven types, after the loop or inside it\u003c\/h3\u003e\u003cp\u003eOpen the Filter page from the footer and choose a Type: Low-Pass, High-Pass, Band-Pass and Notch; a Comb pitched at Freq that rings as Resonance rises and becomes a flanger when it moves; a Formant filter that makes the echoes speak A, E, I, O and U; or a four-pole Ladder with Drive. Changing type crossfades, and at Off the filter is not there at all.\u003c\/p\u003e\u003cp\u003eA pill in the page's title row decides where it sits. After Loop, it filters everything the echoes became, the repeats, the cloud and the grains, once. In Loop, it sits inside the delay, so the first repeat is filtered once and every repeat after it again: a low-pass darkens each echo further than the last, a band-pass narrows them toward a ringing tone. In the loop it never lifts any frequency, however high Resonance goes, so the echoes can never run away.\u003c\/p\u003e\u003cp\u003eBeside it, an LFO on Time's feel-and-rate knob, locked to the song while it plays, and an envelope that follows your playing. The display draws the filter's curve in amber beside the EQ's, moving as you hear it.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/echolight\/guide-filter-types.png\" alt=\"Each of Echolight's filter types, drawn from the plugin's own filter\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eEighteen more controls, out of the way until you want them\u003c\/h3\u003e\u003cp\u003eThe Advanced button at the bottom left swaps the main sections for three more. Grains holds the grain settings from Ghostlight Pro: Size, Density, Jitter, Spread, Reverse and Shimmer Pan. Tape holds the machine's speeds and ramps: Wow Rate, Flutter Rate, and Stop's two times. Echoes holds what the repeats do: Pong Swing and Pong Width, how Ping-Pong shuffles and how far apart its sides sit; Travel, which walks its repeats across the field instead of jumping; Orbit Steps, and Orbit Depth, which takes Orbit's echoes behind you and back; Pan Rate, synced like Time; and Ducking with its release, with the echo mode pill in its title row. The defaults are chosen so you never need to open it, and OUTPUT stays put either way, so you keep your levels and meters while you work.\u003c\/p\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eA dynamic EQ on the echoes and the cloud\u003c\/h3\u003e\u003cp\u003eThree bands, a low shelf, a mid bell and a high shelf, each with a steady Static gain and a level-reactive Dynamic amount that follows the wet signal, plus movable Frequency and Q. It sits after the grains and never touches your dry signal, and at its defaults it is not there at all.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/echolight\/panel-eq.png\" alt=\"\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eSpecifications\u003c\/h3\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eEngine\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eA two-line stereo delay (Direct, Ping-Pong and Orbit) with Tone, Low Cut, Warm, Clipper, Wow and Flutter in the loop; a six-stage diffuser into an 8-line FDN cloud; Ghostlight Pro's granular engine\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eDelay\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eUp to 30 seconds free, or 1\/32 to 8 bars synced, straight, triplet or dotted\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eFilter\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eLow-pass, high-pass, band-pass, notch, comb, formant and ladder, after the loop or inside it, with a tempo-synced LFO (six shapes) and an envelope\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eDynamics and EQ\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003e3-band dynamic EQ (static ±12 dB + reactive), Ducking keyed by the dry input, and two safety ceilings\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eOutput\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eMix against the dry signal, with a padlock that holds Mix, In and Out through preset changes; Width on the echoes, the cloud and the grains, from mono to 150%, with the mono fold-down unchanged at every setting; In and Out trims, ±24 dB\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eLatency\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003e0 samples\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eParameters and presets\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003e78 parameters, all automatable; 44 factory presets in seven categories, plus Default\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eLicensing\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eFree UDI DSP account, one-time online activation — no subscription, works offline for a week between checks\u003c\/span\u003e\n\u003c\/div\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eCompatibility\u003c\/h3\u003e\u003cul\u003e\n\u003cli\u003eWindows: Windows 10 or 11, 64-bit. Plugin formats: VST3 and AAX.\u003c\/li\u003e\n\u003cli\u003emacOS: macOS 11 (Big Sur) or later, on Apple silicon (M1 or later). Plugin formats: AU, VST3 and AAX.\u003c\/li\u003e\n\u003cli\u003eInternet needed once, briefly, to activate (a short browser sign-in). Day-to-day use after that works offline for up to a week between checks.\u003c\/li\u003e\n\u003cli\u003eValidated in Cubase Pro, Avid Pro Tools, Apple Logic Pro, Reaper, Waveform and FL Studio.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"UDi DSP","offers":[{"title":"Default Title","offer_id":67728659874106,"sku":"echolight","price":35.4,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/2078\/1882\/files\/panel-main_220049cc-3667-43d9-8a57-605518ab86ae.png?v=1792391922","url":"https:\/\/udiaudio.com\/products\/echolight","provider":"UDi Audio","version":"1.0","type":"link"}