Andy Timmons Halo effect on H9 anyone?

The Keeley uses two delays in series.  That usually means you have to use the Filter Pong algorithm in an H9.  I wasn’t satisfied with the ‘rhythm’ it created.  I suspect the cross-FEEDBACK path(s) differ from Filter Pong.

All is not lost.  I got roughly the same ‘Halo’ results in many of the other parallel delay algorithms.  (As an aside, the UltraTap *pedal* format – with FEEDBACK – seemed perfect for this application).

It will take some fine-tuning, but I was getting good results with Spacetime, MultiTap, even PitchFuzz (no ‘fuzz’ & arp delays).  Tape Echo, if the Keeley saturation is important to you.  Vintage Delay for the bucket brigade mode, etc.

It’s all in the feedback looping path, & diffusion on the repeats (SLUR-M).  I was working those almost with 2 FEEDBACK alternatives.

Other than that, the examples I’ve heard are cascading dotted eighths & quarter notes.  375 ms. and 500 ms. at 120 BPM.

I think I got pretty close with the Vintage Dly algorithm. But, I was also comparing it to YouTube clips. Andy uses a dotted 8th & A quarter delay with modulation. I also tried the Tape algorithm. But, I couldn’t get the dreamy texture out of the tape algorithm.

What do you think is missing?

This one piqued my OCD, but then I had to set it aside for a stretch.  I had tried several algorithms, and many of them seemed to be missing ‘something’.  For example, Tape Delay modulation(s) were too fixed and regular.

Best (preliminary) results were with SpaceTime.  The delays are based on Vintage Delay (but no control over the bit depth).  They can be routed in series to the reverb for some smearing & slight diffusion.  Not too much – it’s a Plate.  Just a touch with no-dry Delay Level, shorter Decay, experimenting with Size to taste.

The Modulation there has a wider Rate range and incremental Depth fine-tuning.  Love this modulation fairly deep on its own, but in this case, subtle.  It’s the first effect in the chain, and the LFO can be made to sound semi-random / multi-waveform.

I believe I got the best Feedback results from FB:2 (past 12:00), but I went back & forth between both flavors.

I’ve since read somewhere (Keeley himself ?) that the Halo setting isn’t strictly locked to dotted eighths & quarters.  The comment got me wondering if that isn’t the ‘secret formula’.

I haven’t tried this, but it makes theoretical sense:  Let’s say it’s close … 360 ms. & 510 ms. @ 120 BPM.  The delays start out sounding like dotted 8th & 1/4, then gradually begin to drift apart, and clash with each other in the Feedback loop.

Just a theory at this point, but that might be the missing link in the Halo emulations here.  I’m going to try that out when I get back to my evil laboratory.

I tried to approximate the Timmons’ Halo preset in the H9 using UltraTap, in part, because you can get the repeats to speed up with that algo.   Of course, the repeats do not “gallop” like they should but you can smear them which I most certainly did.  YouTuber ciclosonico (whose channel is loaded with creative H9 snippets) provided valuable improvements over my first version and both are posted on the preset sharing page.  An image of the improved version is also attached here.

Any thoughts/improvements?

Great result with the Micropitch!

I am not quite satisfied with the mod rate yet. Setting at 0 also sounds nice..

In fact, setting both mod depth and rate at 0 sounds nice also.

Thanks!
i was  surprised myself how well it turned out.

I increased feedback to 40 and set the mod section (both depth and rate) to 0.

Love it!