As you alter these parameters, the displayed delay tap lines change position and length to reflect the effect of the changes.

The three main controls, Delay, Feedback and Wet, come in dual-concentric rotary form with the centre setting offset, percentage and level, respectively, while the outer rings adjust panning balance. Still, considering the detail available within the modulation parameter edit boxes that you can summon over any control, this is a good UI design choice. These are a subtle guide rather than hard data presentation. The modulators, once connected to their control destinations, create a glowing, hazy colour-coded trail. There are plenty of visual aids to link what you see to what you’re hearing, such as pulsating delay tap lines, the filter section spectrograph, and any filter modulations. Dark and spacious, Timeless 3 is gentle on the eyes, which is vital as it can easily grab your attention for long periods of experimentation. The lower portion of the UI splits vertically, with the upper half housing the controls, such as delay time, feedback, effects and mixing, while the lower half is devoted to modulation.

The upper portion displays the delay taps to the left and the feedback filtering to the right, both of which are as animated as they are editable. The redesigned Timeless 3 interface presents a lot of information, but it’s so clearly laid out that coaxing pleasing tape echo sounds is immediate and intuitive.

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