Temporal Drag Processor (2025)

Temporal Drag Processor is a stereo time-based audio effect processor for the [Nonlinear] Dynamics system. At its core, it is an eight-tap delay network, parameterized similarly to a typical multi-tap delay. Internally, though, it houses a dense nonlinear feedback network that may be used for flanging, chorusing, phase shifting, delay, resonator, and reverb-like effects.

Inspired by the unintentional artifacts of devices like Donald Buchla’s (abandoned prototype) Model 288 Time Domain Processor, the Eventide H3000, and the BOSS RPS-10/RSD-10, Temporal Drag Processor is rife with irregularities, inconsistencies, and nonlinearities. While some settings will behave “as expected” for a multi-tap delay, other settings will introduce typically undesirable digital artifacts, respond unexpectedly to input dynamics, and otherwise obfuscate the input signal. As such, it can be rewarding to think of Temporal Drag Processor less as a way of generating “echoes,” and more as a means of grinding up a sound and redistributing its contents over time.

Temporal Drag Processor is a continuation of ideas from the earlier Mapper series, namely the Windowed Temporal Drag Processor found in map12 and the map02 Delta Scan Mapping Interface. Where the Windowed Temporal Drag Processor was largely concerned with dynamic “latching” and degraded repeats of incoming audio, Temporal Drag Processor continuously processes incoming audio—though of course, some time-windowing/latching-like effects may still be accessed. Temporal Drag Processor also develops on ideas from various software-oriented projects, namely the reverb processing from B400V and the multi-tap delay from the various iterations of the Multi-Delay/Audio Scrambler applications.

Functional Explanation

Temporal Drag Processor features two audio inputs and a stereo pair of audio outputs. The inputs are typically patched from other stereo signal sources in the system, however, the two input signals are summed prior to entering the module’s delay network.

Temporal Drag Processor is an eight-tap delay, with macro control for the timing, amplitude scaling factor, and stereo location of each tap. The amplitude scaling is performed by the Contour parameter, which offers a continuously variable means of addressing the amplitude of all taps. When centered, this control allows all taps to pass through to the output at equal amplitude. When turned counterclockwise, later taps will gradually become quieter, with the first tap’s amplitude remaining constant. Turning clockwise from center, earlier taps will be de-emphasized, with the final tap’s amplitude remaining constant.

The Spatial Trajectory parameter selects between several pre-set arrays of panning values for each tap. Essentially, this determines the panoramic trajectory assumed by a discrete sound object sent into the processor. The nature of this process is the reason that the module’s two input channels are summed to mono before processing: it proved more interesting to build this type of automated panning control into the effect rather than attempting to maintain the incoming stereo image.

The delay taps’ timing are determined by the t-Interval control, t-Skew control, and their associated control voltage inputs + attenuverters. t-Interval determines the timing of the final tap. t-Skew determines the spacing of the seven earlier taps with respect to the final tap. When t-Skew is at its median value, each tap is evenly spaced in time. As t-Skew is decreased, audible repeats cluster more closely toward the present moment; as t-Skew is increased, the taps cluster more toward later, more distant moments. The effect is that lower t-Skew values produce repeats that seem to decelerate over time; higher t-Skew values seem to accelerate over time. The corresponding Recent and Distant LEDs provide a visual indication of the current t-Skew value, with respect to the principal panel control and incoming control voltages.

The Recur (or Recursion) control mediates a number of feedback, time-automation, amplitude compensation, spectral compensation, and audio-sensitivity-oriented processes. In the lower half of its travel, it operates more or less like a typical “feedback” control, introducing feedback from the final delay tap to the input of the delay network. When at its median value, it produces very stable feedback with subtle filtering, useful for creating self-sustaining textures and “latching”-like effects. In the upper half of its travel, it introduces several types of nonlinearity, many of which are impacted by additional variables—such as the current t-Interval, t-Skew, and t-Blend values along with the general amplitude and spectral content of the incoming audio and the current contents of the feedback network itself. It will likely prove rewarding to explore the upper half of the Recursion control in conjunction with t-Interval and t-Skew, as depending on their collective settings, the module may produce modulated delays, resonator-like and string-like effects, or even crude, early 1960s/70s computer music-inspired reverb effects (shout out to Manfred Schroeder, John Chowning, Donald Buchla, et al).

The t-Blend control is, in essence, a crossfader that continuously blends between the input signal and the temporally dragged signal just before the module’s final output. It may be dynamically altered via control voltages, and features its own dedicated control voltage input attenuverter.

Temporal Drag Processor has a distinctly digital sound, proudly optimized to produce effects typically considered to be suboptimal. It shines when modulated via external signals, producing effects sonically inspired by the likes of Autechre, Squarepusher, Curtis Roads, Florian Hecker, Tom Mudd, and others.

Temporal Drag Processor is a prototype/concept developed primarily for personal use. It is not available for sale.