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Using the Freeware Lagrange Delay

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Read Time: 5 min

Lagrange is a granular delay plugin, but in fact it is more than just a delay. It is capable performing very high quality sounding reverbs and modulation as well. The plugin is freeware and it was made for the KVR Developer Challenge 2016.


  • Five algorithms: phasoid, flangoid, marching random, smooth random, clean random
  • Granular synthesis, using grains
  • Depending on settings, various effects can be achieved: delay, reverb, flanging, phasing
  • True stereo mode
  • Vector based graphics (retina ready, user interface is fully resizable)
  • VST2, VST3, 32 bit, 64 bit compatible
  • Windows and Mac version


You can download the plugin from the KVR Audio plugin product page.


"It's superb, precisely because it can be set up to be as predictable as a conventional delay, if you want to get stuck in your own sweet groove. But also quite unpredictable, if you need to ride tandem with the random." - robst247, KVRAudio
"Try it on any signal and see if you like the effect you can get some pretty good distortion and definitely create some thickening." - bigpurpletiger, KVRAudio
"I really like it... it sounds different from other delay plugins... And really wide, which is great" - free4theworld, KVRAudio

The Sound of Lagrange

Thanks to the granular synthesis, the sound is very alive, dense and realistic. Based on the plugin settings, I can achieve several types of effects:

  • Reverb
  • Delay
  • Flanging, phasing (modulation)

Granular Synthesis

Granular synthesis is a sound synthesis method that works on the microsound time scale.

Its process is similar to sampling. The basic building block is a grain which has a length of 1 to 50 ms. These are basically micro-samples. After creating these small fragments it is up to the effect plugin on how to arrange these.

The arranging can be forward, backward or random. They can be also layered in top of each other. The plugin can also modify the speed, volume, pitch or timbre of these grains.

Getting Started

This is a short introduction how to use it for the first couple of times. With using only these three settings, you can set up the main parts of the Lagrange effect.

  1. Choose an algorithm. This is the main character and type of the sound. This influences the sound the most on how the grains behave
  2. Set up the feedback. Bigger values produce longer decay and a metallic effect. Smaller values create shorter decay
  3. Apply the dry / wet balance. This sets up the ratio of the effected and unaffected sounds



I used the Clean Random algorithm for the Perc1 track

This sound is similar to a stereo widening and ping pong delay effect.


  • Algorithm: clean rand, grain rate: 1, density: 0.99, fix delay: 204 ms, var delay: 247 ms
  • Feedback: 5.32, x-talk: 18, low cut: 206 Hz, high cut: 1551 Hz, peak limit: -0.2 dB, RMS limit: -20 dB
  • Dry wet: 46.4 


The high feedback setting gives a more aggressive character to the modulation

I made a stereo widening with this effect, in which there is a moving modulation.


  • Algorithm: phasoid, grain rate: 4, density: 1.5, fix delay: 243 ms, var delay: 358 ms
  • Feedback: 9.65, x-talk: 48.8, low cut: 191 Hz, high cut: 2453 Hz, peak limit: -7.8 dB, RMS limit: -22 dB
  • Dry wet:  50


The density and flangoid setting gives us an effect similar to filter delay

I made simple sounding echoes with this example. It also reminds me of a filter delay.


  • Algorithm: flangoid, grain rate: 4, density: 1.22, fix delay: 369 ms, var delay: 219 ms
  • Feedback: 7.41, x-talk: 18, low cut: 125 Hz, high cut: 2000 Hz, peak limit: -0.2 dB, RMS limit: -20 dB
  • Dry wet: 52


The marching random setting is perfect for general reverberations

The effect of this is similar to a very fine and high quality reverb. There is a sense of space to it.


  • Algorithm: marching rand, grain rate: 4, density: 1.1, fix delay: 148 ms, var delay: 144 ms
  • Feedback: 8.73, x-talk: 46.8, low cut: 397 Hz, high cut: 2 kHz, peak limit: -7.3 dB, RMS limit: -17 dB
  • Dry wet: 50


The high feedback setting is key to the moving effect ths plugin gives us

This sounds like a reverbed tail which feeds back onto itself, a very interesting, moving sound.


  • Algorithm: marching rand, grain rate: 2, density: 0.94, fix delay: 31 ms, var delay: 414 ms
  • Feedback: 9.87, x-talk: 18, low cut: 162 Hz, high cut: 4430 Hz, peak limit: -0.2 dB, RMS limit: -20 dB
  • Dry wet: 52.8


The smooth random algorithm gives us a very fine, thin reverb, but still high quality

I made the sound also like a reverb (very fine and high quality), but in this case with the smooth random algorithm. Smooth indeed.


  • Algorithm: smooth rand, grain rate: 5, density: 2, fix delay: 95 ms, var delay: 294 ms
  • Feedback: 8.14, x-talk: 38, low cut: 210 Hz, high cut: 7400 Hz, peak limit: -0.2 dB, RMS limit: -20 dB
  • Dry wet: 49.6


  1. Try to learn the basic settings first (algorithm, feedback, dry wet)
  2. Combine several Lagrange delay in serial or parallel
  3. Create several sound layers with different Langrange delay settings
  4. If something sounds wrong, dial back the feedback or dry wet
  5. For mixing you can be creative with the low and high cuts. These help the sound sit in the mix better

On Using Lagrange Delay


  • High quality sound
  • Moderate CPU usage
  • Great sound design tool
  • Versatile


  • Takes some learning time to using it fully effectively
  • For some there can be too many settings


In this tutorial about the freeware Lagrange Delay plugin, I showed you several audio examples and how to achieve different sounds. 

Remember that much of the effect depends on the algorithm type (phasoid, flangoid, marching rand, smooth rand, clean rand). Feel free to experiment more with this great tool and let me know how you get on.

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