Some perusal of this manual may aid in general understanding, and assist in ‘tweaking’ or customizing the factory presets – however, in-depth study of the operation of the algorithms is only necessary for those who wish to get the most from the unit by creating their own presets.

The rest of this manual assumes some understanding of the structure and components of signal processing based effects, but such understanding is not otherwise necessary for normal operation of the

Eclipse. People who tend mainly to load and tweak the factory effects can skip the rest of this manual if they so wish.

Each Eclipse preset is made up of one or two algorithms. The word algorithm can be defined as a “way of doing something.” In Eclipse, it is a way to produce an effect – a block of signal processing elements, such as mixers, shifters, compressors, etc. Each of the algorithms can be a powerful and sometimes complex effect in itself.

The factory presets numbered 100-199 should be viewed as examples of the algorithms, and can be used as sources of the ‘un-tweaked’ algorithm for preset creation. In some cases their names are subtly different from those of the underlying algorithms – this is usually for display or readability purposes.

The corresponding preset for each algorithm is given in parentheses below the title e.g.

(6 Chorusdelays)

Some algorithms have very many parameters, many of which rarely need to be changed in normal use.

For this reason, the most important parameters are usually brought out to hotkeys to allow greater accessibility. The assignment and naming of hotkeys is covered in the Operators Manual.

General details applying to many algorithms



With four voice stereo input delay and shifter effects, voices #1 and #3 are fed from the left input (channel #1), and voices #2 and #4 are fed from the right input (channel #2).

All LFOs (Low Frequency Oscillators) may be re-triggered (synched) by an external audio source, by the front panel

<TAP> button, MIDI 'start' commands or by MIDI BPM. These sources may be enabled from the modulation block

(retrig) menu.



 all <t_parameters> signify tap tempo based rhythmic note value selection (dot 1/4, whole note, etc.) Hz, Sec, mS, etc.

These are referenced from the global tempo, the 'modulation block' (taptime) parameters and external MIDIclock. Note that a 1/4 note is defined as the time between averaged <TAP> button hits.

Many effects have a 'SEND' parameter - this is a link to automate the input signal remotely and can be set up as a

'send/volume pedal'. It will usually be connected to external1 and in general acts as a master effect control.

Many algorithms have an “S” somewhere in their signal path. That’s the point at which the (SEND) or (MANUAL_P) level control operates.

Unless noted otherwise, most delay times (delay and shifters) can be set to up to two seconds.



Any pitch shift effect should be calibrated to the source signal. These effects can be program-material dependent, so some tweaking will often give better results, especially diatonic shifters, which usually need the key signature and scale to be specified.

Any envelope/peak detector effect (including fm modulation effects) should be calibrated to the source material for the best results. This is usually a matter of adjusting for level and dynamics of the input signal.

Any ADSR effect should be calibrated to the source material for best results. This is usually a matter of matching the dynamics of the input signal.

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delays

m_banddelays

(104 Banddelays )

Four parallel delays with independent feedback paths feeding resonant bandpass filters. Tempo can be used to control delay time.

Stereo in, stereo out

Parameters

Masters

Send

Adjusts the level at 'S' in the diagram. If you want to modulate the volume of the effect with MIDI, a volume pedal, or some other external or internal source, this is a fantastic place to do it. You won't get zippering.

m_Level

Scales all the individual delay levels, effectively serving as a master volume.

m_Delay

Scales all the individual delay times, effectively serving as a master delay (e.g. if the four delays are set to

200ms, 150ms, 100ms, and 50ms, setting M_Delay to 50% cuts those times in half (100ms, 75ms, 50ms, and

25ms)).

m_Freq

Scales all the individual band frequencies, effectively serving as a master frequency.

m_Q m_Fback

Scales all the individual delay feedbacks, effectively serving as a master feedback (i.e. if M_Fback is set to 0%, all the delays will have no feedback, regardless of their individual settings. Alternatively, you could also have no feedback with M_Fback set to 100% if you set each delay's feedback parameter to 0%.).

m_Pan

Scales all the individual band Q's, effectively serving as a master Q. High values give high resonance, low values give low resonance.

Scales all the individual delay pans, effectively serving as an image spread control (i.e. if M_Pan is set to 0%, all the delays will be panned center, regardless of their individual settings).

Delay#^(x = 1, 2, 3, or 4)

Level x

Delay x

Controls the level of delay x.

Either reflects the physical delay time as entered by T_Delay x (given the current tempo) or allows you to enter the delay time in milliseconds.

T_Delay x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay control "off".

Freqx

Controls the frequency that delay x's bandpass filter ("Color") will center on.

Controls how sharp (resonant) said bandpass filter will be.

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Fback

Panx

Eclipse Algorithms Manual

Controls how much of delay x's output is reapplied to its input.

Controls where in the stereo field delay x will appear (negative values scoot it left and positive values scoot it right).

m_bandtaps

(105 Bandtaps)

Four series-connected delays with bandpass filters feeding a stereo mixer. A wide range of feedback options allows rhythmically complex and colorful patterns to be quickly and easily created. Tempo may be used to control delay times.

Summed in, stereo out

Parameters

Masters

Send

m_Level

Scales all the individual delay levels, effectively serving as a master volume.

m_Delay

Scales all the individual delay times, effectively serving as a master delay (e.g. if the four delays are set to

200ms, 150ms, 100ms, and 50ms, setting M_Delay to 50% cuts those times in half (100ms, 75ms, 50ms, and

25ms)).

m_Freq

Scales all the individual band frequencies, effectively serving as a master frequency.

m_Q

Fback

Scales all the individual band Q's, effectively serving as a master Q. High values give high resonance, low values give low resonance.

Scales all the individual delay feedbacks, effectively serving as a master feedback (i.e. if Fback is set to 0%, all the delays will have no feedback, regardless of their individual settings. Alternatively, you could also have no feedback with M_Fback set to 100% if you set each delay's feedback parameter to 0%.).

Fb<tap# Selects which of the four delays will provide the output for feedback (e.g. as shown in the diagram, delay 4 has been selected).

Fb>tap# Selects where the feedback output should be "re-injected" (e.g. as shown in the diagram, the feedback output will be "re-injected" into the input of delay 3).

m_Pan

Scales all the individual delay pans, effectively serving as an image spread control (i.e. if M_Pan is set to 0%, all the delays will be panned center, regardless of their individual settings).

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Delays^(x = 1, 2, 3, or 4)

Tapx

T_Tap x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay control "off".

Level x

Controls the level of delay x.

Pan x

Either reflects the physical delay time of tap x as entered by T_Tap x (given the current tempo) or allows you to enter the delay time in milliseconds.

Controls where in the stereo field the delay x output will appear. Negative values scoot it left and positive values scoot it right.

Filters^(x = 1, 2, 3, or 4)

Freq x

Q x

Controls the frequency that delay x's bandpass filter ("Color") will center on.

Controls how sharp (resonant) said bandpass filter will be.

m_chorusdelays

(106 Chorusdelays)

Four parallel delays with independent feedback paths feed choruses. Tempo can be used to control delay time and modulation rate.

Stereo in, stereo out

See “m_ banddelays” above for diagram.

Masters

Send

m_Level

Scales all the individual delay levels, effectively serving as a master volume.

m_Delay

Scales all the individual delay times, effectively serving as a master delay (e.g. if the four delays are set to

200ms, 150ms, 100ms, and 50ms, setting M_Delay to 50% cuts those times in half (100ms, 75ms, 50ms, and

25ms)).

m_Rate

Scales all the individual delay sweep rates, effectively serving as a master rate.

m_Depth

Scales all the individual delay sweep depths, effectively serving as a master depth.

m_Fback

Scales all the individual delay feedbacks, effectively serving as a master feedback (i.e. if M_Fback is set to 0%, all the delays we have no feedback, regardless of their individual settings. Alternatively, you could also have no feedback with M_Fback set to 100% if you set each delay's feedback parameter to 0%.).

m_Pan

Retrig

Angle

Scales all the individual delay pans, effectively serving as an image spread control (i.e. if M_Pan is set to 0%, all the delays will be panned center, regardless of their individual settings).

Whenever the sweep rate is changed (either manually or by updating the tempo), the new rate is crossfaded with the old rate. The value of Retrig controls how long the crossfade is as a percentage of the old rate. Thus, a value of 100% means that the crossfade will be complete in one cycle of the old rate.

Given most configurations of the Eclipse, the sweep rate will "start over" when the tempo button is tapped or when an external sequence is started. Angle determines where in its waveform the sweep begins.

Delay#1 (similarly 2, 3, and 4)

Level1

Delay1

Controls the level of delay 1.

Either reflects the physical delay time as entered by T_Delay1 (given the current tempo) or allows you to enter the delay time in milliseconds.

T_Delay1 Controls delay 1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay control "off”.

Rate1

Controls the sweep rate for delay 1 if T_Rate1 is set to "off" or reflects the physical sweep rate as selected by

T_Rate1 and the system tempo.

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T_Rate1 Controls the sweep rate of delay 1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic sweep generation "off".

Depth1

Fback1

Controls the sweep depth of delay 1.

Controls how much of delay 1's output is reapplied to its input.

Pan1

Controls where in the stereo field delay 1 will appear (negative values scoot it left and positive values scoot it right).

m_chorustaps

(107 Chorustaps)

Four series-connected delays with choruses feeding a stereo mixer. A wide range of feedback options allows rhythmically complex and colorful patterns to be quickly and easily created. Tempo may be used to control delay times and modulation rates

Summed in, stereo out

See “m_ bandtaps” above for diagram

Masters

Send

m_Level

Scales all the individual delay levels, effectively serving as a master volume.

m_Delay

Scales all the individual delay times, effectively serving as a master delay (e.g. if the four delays are set to

200ms, 150ms, 100ms, and 50ms, setting M_Delay to 50% cuts those times in half (100ms, 75ms, 50ms, and

25ms)).

m_Rate

Scales all the individual delay sweep rates, effectively serving as a master rate.

m_Depth

Scales all the individual delay sweep depths, effectively serving as a master depth.

Fback

Fb<tap# Selects which of the four delays will provide the output for feedback (e.g. as shown in the diagram, delay 4 has been selected).

Fb>tap# Selects where the feedback output should be "reinjected" (e.g. as shown in the diagram, the feedback output will be "reinjected" into the input of delay 3).

m_Pan

Scales all the individual delay pans, effectively serving as an image spread control (i.e. if M_Pan is set to 0%, all the delays will be panned center, regardless of their individual settings).

Retrig

Angle

Delays^(x = 1, 2, 3, or 4)

Tapx

Either reflects the physical delay time of tap x as entered by T_Tap x (given the current tempo) or allows you to enter the delay time in milliseconds.

T_Tap x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Level x

Pan x

Controls the level of delay x.

Controls where in the stereo field delay x will appear (negative values scoot it left and positive values scoot it right).

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LFOs^(x = 1, 2, 3, or 4)

Rate x

Controls the sweep rate for delay x if T_Ratex is set to "off" or reflects the physical sweep rate as selected by

T_Ratex and the system tempo.

T_Rate x Controls the sweep rate of delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic sweep generation "off".

Depth x

Controls the sweep depth of delay x.

m_combdelays

(108 Combdelays)

Four parallel delays with independent feedback paths feed resonators. Tempo can be used to control delay time.

Stereo in, stereo out

See “m_ banddelays” above for diagram.

Masters

Send

m_Level

Scales all the individual delay levels, effectively serving as a master volume.

m_Delay

Scales all the individual delay times, effectively serving as a master delay (e.g. if the four delays are set to

200ms, 150ms, 100ms, and 50ms, setting M_Delay to 50% cuts those times in half (100ms, 75ms, 50ms, and

25ms)).

m_Cmix

Scales all the individual delay "comb-to-dry" ratios, effectively serving as a master "comb-to-dry" ratio.

m_Comb

Scales all the individual delay comb depths, effectively serving as a master comb depth. Changing the comb depth changes the timbre of the effect.

m_Decay

Scales all the individual delay comb "resonances", effectively serving as a master decay.

m_Fback

m_Pan

Scales all the individual delay pans, effectively serving as an image spread control (i.e. if M_Pan is set to 0%, all the delays will be panned center, regardless of their individual settings).

Delay#1

Level1

Delay1

T_Delay1 Controls delay 1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

CMix1

Controls the "comb-to-dry" ratio for delay line 1.

Comb1

Decay1

Controls the comb depth for delay line 1; adjusts the timbre of the effect.

Controls the comb "resonance" for delay line 1.

Fback

Pan1

Controls the level of delay 1.

Either reflects the physical delay time as entered by T_Delay1 (given the current tempo) or allows you to enter the delay time in milliseconds.

Controls how much of delay 1's output is reapplied to its input.

Controls where in the stereo field delay 1 will appear (negative values scoot it left and positive values scoot it right).

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m_combtaps

Four series-connected delays with resonators feeding a stereo mixer. A wide range of feedback options allows rhythmically complex and colorful patterns to be quickly and easily created. Tempo may be used to control delay times.

Summed in, stereo out

See “m_ bandtaps” above for diagram.

Masters

Send

m_Level

Scales all the individual delay levels, effectively serving as a master volume.

m_Delay

Scales all the individual delay times, effectively serving as a master delay (e.g. if the four delays are set to

200ms, 150ms, 100ms, and 50ms, setting M_Delay to 50% cuts those times in half (100ms, 75ms, 50ms, and

25ms)).

m_Cmix

Scales all the individual delay "comb-to-dry" ratios, effectively serving as a master "comb-to-dry" ratio.

m_Comb

Scales all the individual delay comb depths, effectively serving as a master comb depth. Changing the comb depth changes the timbre of the effect.

m_Decay

Scales all the individual delay comb "resonances", effectively serving as a master decay.

Fback

Fb<tap# Selects which of the four delays will provide the output for feedback (e.g. as shown in the diagram, delay 4 has been selected).

Fb>tap# Selects where the feedback output should be "reinjected" (e.g. as shown in the diagram, the feedback output will be "reinjected" into the input of delay 3).

m_Pan

Scales all the individual delay pans, effectively serving as an image spread control (i.e. if M_Pan is set to 0%, all the delays will be panned center, regardless of their individual settings).

Delays^(x = 1, 2, 3, or 4)

Tap x

Either reflects the physical delay time of tap x as entered by T_Tap x (given the current tempo) or allows you to enter the delay time in milliseconds.

T_Tap x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Level x

Controls the level of delay x.

Pan x

Controls where in the stereo field delay x will appear (negative values scoot it left and positive values scoot it right).

Combs^(x = 1, 2, 3, or 4)

Cmix x

Controls the "comb-to-dry" ratio for delay line x.

Comb x

Controls the comb depth for delay line x; adjusts the timbre of the effect.

Decay x

Controls the comb "resonance" for delay line x.

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m_ringdelays

(112 Ringdelays)

Four parallel delays with independent feedback paths feed frequency shifters (single sideband ring modulation). Tempo may be used to control delay times and ringing.

Stereo in, stereo out

See “m_ banddelays” above for diagram.

Masters

Send

m_Level

Scales all the individual delay levels, effectively serving as a master volume.

m_Delay

Scales all the individual delay times, effectively serving as a master delay (e.g. if the four delays are set to

200ms, 150ms, 100ms, and 50ms, setting M_Delay to 50% cuts those times in half (100ms, 75ms, 50ms, and

25ms)).

m_Fback

Scales all the individual delay feedbacks, effectively serving as a master feedback (i.e. if M_Fback is set to 0%, all the delays will have no feedback, regardless of their individual settings Alternatively, you could also have no feedback with M_Fback set to 100% if you set each delay's feedback parameter to 0%.).

m_Pan

Scales all the individual delay pans, effectively serving as an image spread control (i.e. if M_Pan is set to 0%, all the delays will be panned center, regardless of their individual settings).

m_Rmix

Scales all the individual delay "ring-to-dry" ratios, effectively serving as a master "ring-to-dry" ratio.

m_Ring

Scales all the individual delay ring depths, effectively serving as a master ring depth. Changing the ring depth changes the timbre of the effect.

Delay#1

Level1

Delay1

Controls the level of delay 1.

Either reflects the physical delay time as entered by T_Delay1 (given the current tempo) or allows you to enter the delay time in milliseconds.

T_Delay1 Controls delay 1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

RMix1

Controls the "ring-to-dry" ratio for delay line 1.

Ring1

Either reflects the physical ring depth as entered by T_Ring1 (given the current tempo) or allows you to enter the ring depth in Hz.

T_Ring1 Controls ring depth 1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic ring depth generation

"off".

Fback

Pan1

Controls how much of delay 1's output is reapplied to its input.

Controls where in the stereo field delay 1 will appear (negative values scoot it left and positive values scoot it right).

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m_ringtaps

(113 Ringtaps)

Four series-connected delays with frequency shifters feeding a stereo mixer. A wide range of feedback options allows rhythmically complex and colorful patterns to be quickly and easily created. Tempo may be used to control delay times and ringing.

Summed in, stereo out

See “m_bandtaps” above for diagram.

Masters

Send

m_Level

Scales all the individual delay levels, effectively serving as a master volume.

m_Delay

Scales all the individual delay times, effectively serving as a master delay (e.g. if the four delays are set to

200ms, 150ms, 100ms, and 50ms, setting M_Delay to 50% cuts those times in half (100ms, 75ms, 50ms, and

25ms)).

m_Rmix

Scales all the individual delay "ring-to-dry" ratios, effectively serving as a master "ring-to-dry" ratio.

m_Ring

Scales all the individual delay ring depths, effectively serving as a master ring depth. Changing the ring depth changes the timbre of the effect.

Fback

Fb<tap# Selects which of the four delays will provide the output for feedback (e.g. as shown in the diagram, delay 4 has been selected).

Fb>tap# Selects where the feedback output should be "reinjected" (e.g. as shown in the diagram, the feedback output will be "reinjected" into the input of delay 3).

m_Pan

Scales all the individual delay pans, effectively serving as an image spread control (i.e. if M_Pan is set to 0%, all the delays will be panned center, regardless of their individual settings).

Delays^(x = 1, 2, 3, or 4)

Tap x

T_Tap x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Level x

Controls the level of delay x.

Pan x

Either reflects the physical delay time of tap x as entered by T_Tap x (given the current tempo) or allows you to enter the delay time in milliseconds.

Controls where in the stereo field the delay x output will appear (negative values scoot it left and positive values scoot it right).

Rings^(x = 1, 2, 3, or 4)

Rmix x

Ring1

Controls the "ring-to-dry" ratio for delay line 1.

Either reflects the physical ring depth as entered by T_Ringx (given the current tempo) or allows you to enter the ring depth in Hz.

T_Ring x Controls ring depth x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic ring depth generation

"off".

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m_pandelays

(114 Pandelays)

Four parallel delays with independent feedback paths may be panned across the stereo output. Tempo may be used to control delay times and pan sweep rates.

Stereo in, stereo out

See “m_ banddelays” above for diagram and parameters.

Masters

Send

m_Level

Scales all the individual delay levels, effectively serving as a master volume.

m_Delay

Scales all the individual delay times, effectively serving as a master delay (e.g. if the four delays are set to

200ms, 150ms, 100ms, and 50ms, setting M_Delay to 50% cuts those times in half (100ms, 75ms, 50ms, and

25ms)).

m_Fback

m_Rate

Scales all the individual delay pan rates, effectively serving as a master rate.

m_Depth

Scales all the individual delay pan depths, effectively serving as a master depth.

Retrig

Angle

Whenever the pan rate is changed (either manually or by updating the tempo), the new rate is cross-faded with the old rate. The value of Retrig controls how long the cros-sfade is as a percentage of the old rate. Thus, a value of 100% means that the cross-fade will be complete in one cycle of the old rate.

Given most configurations of the Eclipse, the pan rate will "start over" when the tempo button is tapped or when an external sequence is started. Angle determines where in its waveform the sweep begins.

Delay#1 (similarily 2,3,4)

Level1

Controls the level of delay 1.

Delay1

Either reflects the physical delay time as entered by T_Delay1 (given the current tempo) or allows you to enter the delay time in milliseconds.

T_Delay1 Controls delay 1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Fback

Controls how much of delay 1's output is reapplied to its input.

Rate1

Depth1

Controls the pan rate for delay 1 if T_Rate1 is set to "off" or reflects the physical pan rate as selected by

T_Rate1 and the system tempo.

T_Rate1 Controls the pan rate of delay 1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic pan generation

"off".

Controls the pan depth of delay 1.

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st chorus delays

(115 St Chorus)

Dual modulating delays with various feedback options are followed by a hi-cut filter. Tempo may be used to control the delay’s sweep rate. Each delay may be set at up to two seconds, allowing longer delay times than similar effects. The left and right channels sweep in opposition.

Stereo in, stereo out

Delays

Send

Level

Delay1

Delay2

Depth1

Depth2

Controls the output levels of both delays.

Controls the delay time of delay 1 in milliseconds (no tempo function is available - this is a chorus effect, after all).

Controls the delay time of delay 2 in milliseconds.

Controls the depth of modulation for delay 1.

Controls the depth of modulation for delay 2.

Hicut

Fback

Controls the lowpass filter cutoff frequency.

Controls how much of each delay's output gets reapplied to its own input or to the other delay's input.

FB Type Determines if the feedback from each delay will return to its own input or to the other delay's input.

Image

Controls how wide the stereo chorus image is.

LFO

Rate

T_Rate

Controls the modulation rate if T_Rate1 is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation control

"off".

Determines the shape of the modulating signal.

Shape

Duty

Polarity

When set to "unipolar", modulations add the value of Depth to Delay. When set to "bipolar", modulations add the value of Depth to Delay and subtract the value of Depth from Delay.

Retrig

Controls the "duty cycle" of the modulating wave for any waveform other than "sine". For example, if you have selected "triangle" under Shape and set Duty to "0%", the triangle will morph to a sawtooth (very fast rise, slow fall). With Duty at "100%", the triangle will morph to a ramp (slow rise, very fast fall).

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Angle

Given most configurations of the Eclipse, the modulation will "start over" when the tempo button is tapped or when an external sequence is started. Angle determines where in its waveform the modulation begins.

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ducked delays

(116 DuckedDelays)

Two delay lines followed by a stereo compressor whose side-chain is fed by a sum of chan#1 and #2.

Volume ducks/compresses delays out of the way. Be careful with compressor gain! Tempo may be used to control delay times.

Stereo in, stereo out

Delay

Send

Level

Delay1

Controls the output levels of both delays.

Either reflects the physical delay time as entered by T_Delay1 (given the current tempo) or allows you to enter the delay time in milliseconds.

Delay2

Either reflects the physical delay time as entered by T_Delay2 (given the current tempo) or allows you to enter the delay time in milliseconds.

T_Delay1 Controls delay 1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

T_Delay2 Controls delay 2 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Fback1

Controls how much of delay 1's output is reapplied to its input.

Fback2

Image

Controls how much of delay 2's output is reapplied to its input.

Controls how wide the delay image is.

Ducking

Thresh

Ratio

Gain

Attack

Decay

GR 1

GR 2

Sets the input threshold above which compression of the delay signal takes place and below which the delay signal is left alone.

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Adjusts the output level to improve gain structure.

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Displays how much gain reduction (compression) is taking place after delay 1.

Displays how much gain reduction (compression) is taking place after delay 2.

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ultratap 2

(117 Ultratap 2)

This extension of a popular Eventide H3000 structure contains four serial two-second diffusors feeding a

36 tap, two-second multitap delay (easytaps below) and a tempo-controlled two-second feedback delay.

It is great for pre-reverb or strange delay/reverberant effects.

Summed in, stereo out

Diffusor^(x = 1, 2, 3, 4)

Send

Dmix

Coef x

Controls the amount of diffusion.

Controls the amount of feedback for diffusor x, which determines the "fuzziness" or "distinctness" of the diffusor.

Diffusion

A master feedback control for all the diffusors.

DSize

Controls the diffusor's "size" by scaling its delay times.

Delay x

Controls the total delay time for diffusor x.

Multitap

Level

Controls the output level of the multitap delay.

FBDelay

Controls the delay time of the feedback delay.

T_FBDela Controls the feedback delay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation

"off".

Fback

# Taps

The amount of feedback applied to the feedback delay.

Specifies the number of delay taps that the algorithm will use.

Length

Controls the total delay length.

Random

Controls the degree to which the Eclipse randomizes tap times to reduce resonance.

DlyShape

Controls the delay "shape" or tap length as a function of tap number.

AmpShape Controls the amplitude "shape" or the level of each of tap as a function of tap number.

PanShape

Controls the pan "shape" or the panning of each tap as a function of tap number.

AAlpha

Controls the exponential shape of the amplitude only when AmpShape is set to "exp_inc" or "exp_dec".

DAlpha

Controls the exponential shape of the tap times only when DlyShape is set to "exp_inc" or "exp_dec".

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mono loop (10)

(118 Loop10)

This version of “mono loop (20)” is suitable for use at 96kHz sampling.

Summed in, stereo out

See “mono loop (20)” above for diagram and parameters.

mono loop (20)

(119 Loop20)

This simple effect contains a mono 20-second delay with hi-cut filter and pan. Tempo may be used to control delay times.

Summed in, stereo out

Loops

Send

Level

Loop

Adjusts the level at 'S' in the diagram. If you want to modulate the input to the loop with MIDI, a volume pedal, or some other external or internal source, this is a fantastic place to do it. You won't get zippering.

Controls the output level of the loop.

Either reflects the physical loop time as entered by T_Loop (given the current tempo) or allows you to enter the loop time in milliseconds.

T_Loop Controls the length of the loop in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic loop generation

"off".

Hicut

Controls the lowpass filter cutoff frequency.

Pan

Loop

Pans the loop in the stereo field.

Monitors the input to the loop

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dual loops (5)

(120 DualLoop5)

This version of “dual loops (10)” is suitable for use at 96kHz sampling.

Stereo in, stereo out

See “dual loops (10)” above for diagram and parameters.

dual loops (10)

(121 DualLoop10)

A true stereo version of “mono loop (20).”

Stereo in, stereo out

Master

Send

Level

Loop

Controls the output level of both loops.

Either reflects the physical loop time of both loops as entered by T_Loop (given the current tempo) or allows you to enter the loop time in milliseconds.

T_Loop Controls the length of both loops in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic loop generation

"off".

Fback

Controls how much of each loop's output is reapplied to its input or the other loop's input.

FB Type Determines if the feedback from each loop will return to its own input or to the other loop's input.

Hicut

Controls the lowpass filter cutoff frequency.

Image

Loop1

Controls how wide the loop image is.

Monitors the input to loop 1.

Loop2

Monitors the input to loop 2.

Loop#1

Parameters similar to those described under “Mono Loop” above, dedicated to Loop 1; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value

"wins")

Loop#2

Parameters similar to those described under “Mono Loop” above, dedicated to Loop 2; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value

"wins")

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mono reverse (20)

(122 Reverse10)

This algorithm is a mono 20-second reverse delay. A reverse delay is unique in that the <tap> button or other trigger source can both set the delay time and trigger playback from the unit.. This means that the first button press starts filling the delay, while the second press starts backwards playback. Think of it as a reverse sampler or looper. Tempo may be used to control delay times.

Summed in, stereo out

Reverse

Send

Mix

Delay

Controls the wet-to-dry ratio. If set to "0%", you won't hear any effect, while if set to "100%" you'll hear nothing but effect.

Either reflects the physical reverse time as entered by T_Delay (given the current tempo) or allows you to enter the reverse time in milliseconds.

T_Delay Controls the length of the reverse in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic reverse generation "off".

Regen

XFade

Controls the feedback around the Reverse Delay, i.e. how much of its output is reapplied to its input.

Controls the length of crossfade between successive samples (reversed chunks).

Mute

Trigger

Sets the delay time below which the reverse output will be muted (prevents tempo changes from creating a ridiculously short reverse loop).

Causes reversed playback to start immediately.

mono reverse (10)

(123 Reverse20)

This version of “mono reverse (20)” is suitable for use at 96kHz sampling.

Summed in, stereo out

See “mono reverse (20)” above for diagram and parameters.

dual reverse (5)

(124 DualReverse5)

This five-second true stereo version of “mono reverse (20)” is suitable for use at 96kHz sampling.

Stereo in, stereo out

See “dual reverse (10)” above for diagram and parameters.

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dual reverse (10)

(125 DualReverse10)

This is a 10-second true stereo version of “mono reverse (20).”

Stereo in, stereo out

Master

Send

Mix

Delay

Controls the wet-to-dry ratio. If set to "0%", you won't hear any effect. If set to "100%" you'll hear nothing but effect.

Either reflects the physical reverse time as entered by T_Delay (given the current tempo) or allows you to enter the reverse time in milliseconds if T_Delay is set to "Off".

T_Delay Controls the length of the reverse in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic reverse generation "off". The actual reverse time displayed under Delay is a function of this control and the current system tempo.

Fback

Controls how much of the reverse's output is reapplied to its input.

Mute

XFade

Sets the delay time below which the reverse output will be muted (prevents tempo changes from creating a ridiculously short reverse loop).

Controls the length of crossfade between successive samples (reversed chunks).

Rev#1

Parameters similar to those described above, dedicated to Loop 1; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

Rev#2

Parameters similar to those described above, dedicated to Loop 2; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

Trigger Causes reversed playback to start immediately.

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Vintage Delay

(190 Vintage

Early digital technology delays with steep lowcut and hicut filters in the feedback path and sound texture choice, introducing digital artifacts. Modulation and various feedback options are available. Tempo may be used to control the delay’s sweep rate and time. Each delay may be set at up to two seconds. The left and right channels sweep in opposition.

Stereo in, stereo out

Ch1

Lowcut &

Hicut

Delay

Ch1

Network

OUT

Lowcut & Delay

Hicut

Ch2

Delays

Send

Level

Delay1

Controls the output levels of both delays.

Controls the delay time of delay 1 in milliseconds (no tempo function is available - this is a chorus effect, after all).

Delay2

Controls the delay time of delay 2 in milliseconds.

T_Delay1

Controls the length of delay1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic reverse generation

"off".

T_Delay2

Controls the length of delay2 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic reverse generation

"off".

Depth1

Depth2

Controls the depth of modulation for delay 1.

Controls the depth of modulation for delay 2.

Hicut

Fback

Controls the lowpass filter cutoff frequency.

Controls how much of each delay's output gets reapplied to its own input or to the other delay's input.

FB Type Determines if the feedback from each delay will return to its own input or to the other delay's input.

Image

Controls how wide the stereo chorus image is.

Texture

Chooses between Modern audio quality and Vintage “digital artifacts” textures

LFO

Rate

T_Rate

Controls the modulation rate if T_Rate1 is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation control

"off".

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Shape

Duty

Determines the shape of the modulating signal.

Polarity

When set to "unipolar", modulations add the value of Depth to Delay. When set to "bipolar", modulations add the value of Depth to Delay and subtract the value of Depth from Delay.

Retrig

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Angle

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dynamics

dual compressors

(126 StereoComp)

A pair of independent “soft knee” compressors featuring 'master' and individual channel parameters as well as metering of gain reduction.

Dual mono in, dual mono out

Master

Thresh

S Knee

Ratio

Gain

Attack

Decay

GR 1

GR 2

Sets the input threshold above which compression of the signal takes place and below which the signal is left alone.

Controls the width of the "soft knee". The soft knee is a region above the threshold over which the ratio transitions from 1:1 to the selected Ratio. It smoothes out the compression.

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Adjusts the output level to improve gain structure.

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Displays how much gain reduction (compression) is taking place after delay 1.

Displays how much gain reduction (compression) is taking place after delay 2.

Comp#1

Parameters similar to those described above, dedicated to compressor 1; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

Comp#2

Parameters similar to those described above, dedicated to compressor 2; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

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dual noisegates

(127 DualGates)

This is a stereo noise gate with 'master' and individual channel parameters.

Stereo in, stereo out

Master

Trigg

Selects which input or inputs trigger the gate to open.

Thresh Sets the input threshold that the trigger must exceed to open the gate.

Attack Controls how quickly the gate opens up once the trigger exceeds the threshold.

Decay Controls how quickly the gate closes once the trigger falls below the threshold.

Hyster Controls the "hysteresis": how far the trigger must fall below the threshold before the gate will open. Higher values prevent spurious triggering.

GT 1 Displays the dynamics of gate 1: if the bar is empty, the gate is closed. If the bar is full, the gate is open.

Intermediate values represent varying levels of gain reduction.

GT 2 Displays the dynamics of gate 2: if the bar is empty, the gate is closed. If the bar is full, the gate is open.

Intermediate values represent varying levels of gain reduction.

Gate#1

Parameters similar to those described above, dedicated to gate 1; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

Gate#2

Parameters similar to those described above, dedicated to gate 2; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

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fm panner

(128 FM Panner)

Simple panning with envelope-controlled fm modulation of sweep.

Stereo in, stereo out

FM Pan

Send

Depth

Width

Mode

Env

Sens

Attack

Decay

Amount of panning, relative to the output stereo field width.

Actual width of output stereo field.

Determines if the effect will behave like a panner ("sync") or like a tremolo ("oppose").

LFO

Rate

T_Rate

Controls the modulation rate if T_Rate1 is set to "off”.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

FMRate

Analogous to Rate, except that this pertains to modulation of the LFO's signal (not to modulation of the panner directly).

T_FMRate Analogous to T_Rate, except that this pertains to modulation of the LFO's signal (not to modulation of the panner directly).

Shape

Duty

Determines the shape of the modulating signal.

Retrig

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Angle

Controls how sensitive the envelope follower is; alter this parameter to change the "depth" of the FM effect.

Controls how fast the envelope follower will track an increase in volume.

Controls how fast the envelope follower will track a decrease in volume.

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fm trem

(129 FM Trem)

A simple tremolo with envelope-controlled fm modulation of sweep.

Stereo in, stereo out

FM Trem

Send

Mix

Depth

Mode

Env

Sens

Attack

Decay

Adjusts the level at 'S' in the diagram. If you want to modulate the volume of the effect with MIDI, a volume pedal, or some other external or internal source, this is the place to do it. No zippering allowed.

Controls the ratio between the dry and wet (tremolo) signal.

Controls the depth of the modulation. If Mix is at "0%", this effectively controls the volume.

Determines if the effect will behave like a tremolo ("sync") or like a panner ("oppose").

LFO

Rate

Controls the modulation rate if T_Rate1 is set to "off" or reflects the physical modulation rate as selected by

T_Rate.

T_Rate Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

FMRate

Analogous to Rate, except that this pertains to modulation of the LFO's signal (not to modulation of the tremolo directly).

T_FMRate Analogous to T_Rate, except that this pertains to modulation of the LFO's signal (not to modulation of the tremolo directly).

Shape

Retrig

Determines the shape of the modulating signal.

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Angle

Controls how sensitive the envelope follower is; alter this parameter to change the "depth" of the FM effect.

Controls how fast the envelope follower will track an increase in volume.

Controls how fast the envelope follower will track a decrease in volume.

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filters

two band crossover

(130 2BandXover)

This two-band crossover includes pan parameters for the 'hi' and 'low' outputs for each channel.

Stereo in, stereo out

X-Over

Type

Selects the frequency at which the crossover divides the signal.

Selects the "windowing" type. In critical applications, A/B for best results.

Mixer

Lows1

Highs1

Lows2

Controls the level of channel 1's low frequencies.

Controls the level of channel 1's high frequencies.

Controls the level of channel 2's low frequencies.

Highs2

Controls the level of channel 2's high frequencies.

Low1Pan

Controls where in the output stereo field channel 1's low frequencies end up.

Hi1Pan

Controls where in the output stereo field channel 1's high frequencies end up.

Low2Pan

Controls where in the output stereo field channel 2's low frequencies end up.

Hi2Pan

Controls where in the output stereo field channel 2's high frequencies end up.

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dual 4band para

(131 Dual 4B Parametric)

This stereo four-band equalizer has 'master' and individual channel parameters. In addition, band #1 is selectable between lowpass and bandpass, while band #4 can be either bandpass or highpass.

Stereo in, stereo out

Masters

Band#1

Level1

Freq1

Type1

Controls the boost or cut of band 1.

Controls the center frequency or cut-off frequency of band 1.

Controls the bandwidth or resonance of band 1.

Controls whether band one behaves as a bandpass filter or as a lowpass filter (other bands are either dedicated bandpass filters or allow for highpass filtering as well).

Band#2

Parameters similar to those described above, dedicated to band 2.

Band#3

Parameters similar to those described above, dedicated to band 3.

Band#4

Parameters similar to those described above, dedicated to band 4.

EQ#1

Parameters similar to those described above, dedicated to EQ 1; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

EQ#2

Parameters similar to those described above, dedicated to EQ 2; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

dual 8 band EQ

(132 Dual8Band Eq)

This stereo eight-band equalizer has 'master' and individual channel parameters as well as a single bandwidth parameter.

Stereo in, stereo out

See “dual 4band para” above for diagram and parameters.

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dual filters

(133 Dual Filters)

This algorithm offers 'master' and individual channel parameters. The filter type may be selected from lowpass, hipass, bandpass or notch, while the slope may be either 24 or 48 dB per octave.

Stereo in, stereo out

Master

Send

Gain

Freq

Type

Order

Controls the output gain of the filters.

Controls the center frequency or cutoff frequency.

Controls the bandwidth or resonance.

Selects the type of filter.

Selects the "steepness" of the filter.

Filter#1

Parameters similar to those described above, dedicated to Filter 1; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

Filter#2

Parameters similar to those described above, dedicated to Filter 2; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

dual modfilters

(134 Dual Modfilters)

This modulated filter algorithm offers 'master' and individual channel parameters, with a 'mode' selector for modulation (one of LFO, envelope or pedal), as well as 'freq' and 'q' modulation. The envelope follower may be triggered from either input.

Stereo in, stereo out

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Master

Send

Mode

Rate

Selects whether the LFO, the envelope generator, or an external pedal will modulate the filters.

Controls the LFO modulation rate if T_Rate1 is set to "off" or reflects the physical LFO modulation rate as selected by T_Rate and the system tempo.

T_Rate Controls the LFO modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic LFO modulation generation "off".

Type

Selects the type of filter.

FAttack

Controls how quickly the filter frequency will track an increase in the modulation source level.

FDecay

Controls how quickly the filter frequency will track a decrease in the modulation source level.

QAttack

Controls how quickly the filter Q will track an increase in the modulation source level.

QDecay

Controls how quickly the filter Q will track a decrease in the modulation source level.

Freq

Controls the "baseline" center frequency or cutoff frequency.

Fmod

Controls how far from the "baseline" the cutoff frequency will deviate in response to the modulation signal.

Controls the "baseline" bandwidth or resonance.

Qmod

Controls how far from the "baseline" the Q will deviate in response to the modulation signal.

Env

Sens

Retrig

Angle

Determines which input or inputs the envelope follower will track.

Controls how sensitive the envelope follower is; alter this parameter to change the "depth" of the FM effect.

Whenever the LFO Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of 100% means that the crossfade will be complete in one cycle of the old Rate.

Given most configurations of the Eclipse, LFO modulation will "start over" when the tempo button is tapped or when an external sequence is started. Angle determines where in its waveform the LFO begins.

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Filter#1

Most parameters similar to those described above, dedicated to Filter 1; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

Man_Ped1 Allows users without an external pedal to modulate the effect from the front panel.

Filter#2

Most parameters similar to those described above, dedicated to Filter 2; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

Man_Ped1 Allows users without an external pedal to modulate the effect from the front panel.

stereo phaser

(135 St Phaser)

This simple stereo phase shifter allows the number of poles to be selected from 3 to 24, allowing great control over the strength of the effect. A 'mode' selector is provided for choice of modulation input between LFO and pedal.

Stereo in, stereo out

Phaser

Send

Mix

Controls the ratio between the dry and wet (phased) signal. Set to "50%" if the dry signal won't be mixed in later (e.g. in a guitar rig).

Mode

Depth

Fback

#Poles

Selects whether the LFO or an external pedal will modulate the filters.

Controls the depth of the phase effect.

Controls how much of each phaser's output is reapplied to its input for exaggerated phasing.

Determines how many "poles" the phaser's filters will use. More poles: more pronounced effect.

Sweep

Determines if the modulation signal to each phaser is in phase ("sync") or out of phase ("oppose").

Man_Ped Allows users without an external pedal to modulate the effect from the front panel.

LFO

Rate

T_Rate

Shape

Controls the modulation rate if T_Rate1 is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Determines the shape of the modulating signal.

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Duty

Retrig

Eclipse Algorithms Manual

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Angle

stereoizing phaser

(136 StereoizingPhaser)

Two phase shifters tapped off the 9th pole (left) and the 12th pole (right) create a credible stereo field.

Summed in, stereo out

Phaser

Send

Mix

Mode

Depth

Controls the ratio between the dry and wet (phased) signal. Set to "50%" if the dry signal won't be mixed in later (e.g. in a guitar rig).

Selects whether the LFO or an external pedal will modulate the filters.

Controls the depth of the phase effect.

Fback

Controls how much of each phaser's output is reapplied to its input for exaggerated phasing.

Man_Ped Allows users without an external pedal to modulate the effect from the front panel.

LFO

Rate

T_Rate

Shape

Duty

Retrig

Controls the modulation rate if T_Rate1 is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Determines the shape of the modulating signal.

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

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Angle

Eclipse Algorithms Manual

dual sample/hold

(137 DualSamp/Hold)

This unusual effect features dual low pass filters driven by a rhythmic control. It features 'master' and individual channel parameters. In addition there are controls for 'min/max' frequency and bandwidth as well as 'resonance'. The 'flux' parameter smoothes out changes.

Stereo in, stereo out

Modulating Low-pass

Filter

Ch 1

Ch 2

Modulating Low-pass

Filter

Ch 1

OUT

Ch 2

LFO

Sample

& Hold

Master

Send

Mix

F Min

F Max

Reson

Flux

Rate

T_Rate

Retrig

Angle

Controls the ratio between the dry and wet (S/H) signal.

Sets the minimum frequency for the Sample and Hold.

Sets the maximum frequency for the Sample and Hold.

Controls the filter resonance.

Controls how quickly the filter moves between "notes".

Controls the modulation rate if T_Rate is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

S/H#1

Parameters similar to those described above, dedicated to Sample and Hold 1; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

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S/H#2

Parameters similar to those described above, dedicated to Sample and Hold 2; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

vocal wa

(138 VocalizedWa)

This notorious Eventide effect contains three filter channels used as ‘vowel’ or ’formant’ selectors, with individual level and pan controls. In addition, a 'mode' selector allows modulation from either an LFO or a pedal.

Summed in, stereo out

Vowels

Mode

Vowel1

Vowel2

Selects whether the LFO or an external pedal will modulate the filters.

Selects one of the filter "vowels".

Selects the second filter "vowel".

QMod

Controls the bandwidth of the filters.

Controls how much the Q changes with modulation.

Man_Ped Allows users without an external pedal to modulate the effect from the front panel.

LFO

Rate

T_Rate

Shape

Duty

Retrig

Angle

Controls the modulation rate if T_Rate1 is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Determines the shape of the modulating signal.

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Mixer^(x = 1, 2, 3)

Level x

Controls the level of filter x.

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Positions the image of filter x in the stereo field.

Pan x

10 band vocoder

(139 Vocoder10)

A vocoder allows the characteristics of one signal to be superimposed on another; for example a guitar can be made to ‘sing,’ or a choir-like effect can be produced by using a noise source as the instrument.

The left input (channel #1) or and internal noise source feeds carrier (instrument), while right input

(channel #2) feeds the modulator (voice). The output is the sum of ten frequency bands from 20Hz to

20kHz, with 'level' and 'pan' for each band.

Dual in, stereo out

Cal

Carrier

L Gain

R Gain

Q/Res

Attack

Decay

Determines if the spectrum supplied by input 2 (voice) will be applied to "noise" or to the signal supplied at input 1 ("left in").

Controls the level of the left input (instrument).

Controls the level of the right input (voice).

Controls the bandwidth of each filter. Lower values deliver a louder, albeit less distinct effect.

Controls how quickly the envelope follower on each filter will track an increase in the right input (voice).

Controls how quickly the envelope follower on each filter will track a decrease in the right input (voice).

Freqs^(x = 1, 2, ..., 10)

Freq x Controls the center frequency for band filter x. Avoid centering on frequencies outside the range of the right input (voice) - it's just a waste of a filter!

Mixer

Levels^(x = 1, 2, ..., 10)

M_Level Scales all the individual band filter levels, effectively serving as a master volume.

Levelx Controls the level of band filter x.

Pans^(x = 1, 2, ..., 10)

M_Pan

Panx

Scales all the individual band filter pans, effectively controlling the stereo spread.

Controls the stereo placement of band filter x.

dual expanders

(193 Stereo Expanders)

A pair of independent “soft knee” expanders featuring 'master' and individual channel parameters as

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well as metering of gain reduction.

Dual mono in, dual mono out

Master

S Knee

Ratio

left alone.

Controls the width of the "soft knee". The soft knee is a region below the threshold over which the ratio transitions from 1:1 to the selected Ratio. It smoothes out the expansion.

Controls the input to output ratio for signals below the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Attack

Controls how quickly the expander reacts to increasing levels.

GR 1

GR 2

Displays how much gain reduction (compression) is taking place in expander # 1.

Displays how much gain reduction (compression) is taking place in expander #2

Expand#1

Parameters similar to those described above, dedicated to expander 1; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

Expand#2

Parameters similar to those described above, dedicated to expander 2; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value

"wins").

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24 band vocoder

(194 Vocoder24)

The excitation input and internal noise sources feed the carrier (instrument), while the opposite channel feeds the modulator (voice).

Dual in, summed out.

Excite

opposite channel (typically voice) will then be used to send to the ‘analysis’ channel.

Quantize

Determines bit depth of the excitation source signal.

Input

Noise

Controls the level of the quantized source into the excitation channel.

Controls the level of the noise into the excitation channel.

Chord Controls the level of the impulse chord into the excitation channel.

Lfo’s Controls the level of the lfo’s into the excitation channel.

Vocode

Order Sets the number of poles for the analysis and synthesis filters

Reson Controls the resonance or ‘q’ of the filters

Note

Sets the delay length of the ‘Comb’ in musical values.

Octave Sets the octave number used to modify (Note) parameter.

Delay Sets the delay length of the ‘Comb’ in ms value.

Decay Controls the coefficient or feedback amount (sharpness) of the comb.

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Noise

Chord

Note x Sets the frequency of impulse x in musical values.

Freq x Sets the frequency of impulse x in Hz

Midi

Selects which method unit will use as it responds to incoming midi notes.

Lfo’s

Duty1 Controls the dutycycle of lfo1.

Stereo Simulator

(198 Stereo Simulator)

Converts mono signals into stereo ones, using all pass filters and split-band processing. It avoids thinness you get on individual channels with other simulators and doesn’t change levels and tone.

Fully mono-compatible.

Switchable input, stereo out

Operate

Mode

Selects if output sound is Stereo or Mono.

Spread

Sets the output level.

Input

Gives you a choice of which input are you Stereo Simulating…

Output

Monitors mode.

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plex

A plex is the feedback network of a reverb.

delay 8 plex

(140 Delay8Plex)

This one has eight 660 mS modulating delay lines with 'level' and 'pan' parameters for each independent output.

Summed in, stereo out

See “large delay 8 plex” above for diagram and parameters.

large delay 8 plex

(141 LrgDelay8Plex)

This plex has eight two second modulating delay lines with 'level' and 'pan' parameters for each independent output.

Summed in, stereo out

Masters

Send

Level

Decay

Size

Controls the output level.

Controls the delay feedback, effectively the reverb time.

Scales the individual delay times, effectively altering the "room size".

HiCut

Controls the output level of a high shelving filter.

LowCut

Controls the output level of a low shelving filter.

HiFreq

Controls the cutoff frequency of the high shelving filter.

LowFreq

Controls the cutoff frequency of the low shelving filter.

Depth

Controls the depth of delay modulation for a chorus effect.

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Rate

T_Rate

Image

Retrig

Angle

Eclipse Algorithms Manual

Controls the modulation rate if T_Rate1 is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Scales all the individual delay pans, effectively controlling the stereo spread.

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Plex

Delays^(x = 1, 2, ..., 8)

Delayx Sets the delay time for delay x.

T-delayx

Controls length of delay times in rhythmic terms

Mixer^(x = 1, 2, ..., 8)

Levelx

Panx

Controls the level of delay x.

Controls the stereo placement of delay x.

detune 4 plex

(142 Detune4Plex)

This one has four 660 mS detuners in addition to 'level' and 'pan' parameters for each independent output.

Summed in, stereo out

Ch 1

HiCut

Filter

Ch 1

Plex

Shift/Detune 1

Shift/Detune 2

Shift/Detune 3

Shift/Detune 4

OUT

Ch 2

HiCut

Filter Ch 2

Masters

Send

Level

Decay

Size

Controls the output level.

Controls the delay feedback, effectively the reverb time.

Scales the individual delay times, effectively altering the "room size".

HiCut

Controls the output level of a high shelving filter.

LowCut

Controls the output level of a low shelving filter.

HiFreq

Controls the cutoff frequency of the high shelving filter.

LowFreq

Controls the cutoff frequency of the low shelving filter.

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Detune

Length

Image

Scales all the individual detune amounts, effectively serving as a master detune.

Controls the delay time of the detune pitchshifters.

Scales all the individual delay pans, effectively controlling the stereo spread.

Detune^(x = 1, 2, 3, 4)

Detunex

Controls the pitchshift of detuner x.

Delayx

Controls the delay time of pitchshift x.

Mixer^(x = 1, 2, 3, 4)

Levelx

Panx

Controls the level of detuner x.

Controls the stereo placement of detuner x.

reverse 4 plex

(143 Reverse4Plex)

This one adds four two-second reverse shifters as well as 'level' and 'pan' parameters for each independent output.

Summed in, stereo out

See “detune 4 plex” above for diagram.

Masters

Send

Level

Decay

Size

Pitch

Controls the output level.

Controls the reverse feedback.

Scales the individual reverse times, effectively altering the "room size".

Scales all the individual reverse shifters.

HiCut

Controls the output level of a high shelving filter.

LowCut

Controls the output level of a low shelving filter.

HiFreq

Controls the cutoff frequency of the high shelving filter.

LowFreq

Controls the cutoff frequency of the low shelving filter.

Image

Scales all the individual delay pans, effectively controlling the stereo spread.

Plex

Pitch^(x = 1, 2, 3, 4)

Pitchx Controls the pitch of reverse shifter x.

Delays^(x = 1, 2, 3, 4)

Delayx Controls the delay time of reverse shifter x.

Mixer^(x = 1, 2, 3, 4)

Levelx

Panx

Controls the level of reverse shifter x.

Controls the stereo placement of reverse shifter x.

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tdelay 4 plex

(195 TDelay4Plex)

This plex has four two second tempo delay lines with 'level' and 'pan' parameters for each independent output.

Summed in, stereo out

Masters

Send

Level

Controls the output level.

Decay

Controls the delay feedback, effectively the reverb time.

HiCut

Controls the output level of a high shelving filter.

LowCut

Controls the output level of a low shelving filter.

HiFreq

Controls the cutoff frequency of the high shelving filter.

LowFreq

Controls the cutoff frequency of the low shelving filter.

Depth

Controls the depth of delay modulation for a chorus effect.

Rate

Controls the modulation rate if T_Rate1 is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

T_Rate

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Image

Scales all the individual delay pans, effectively controlling the stereo spread.

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Angle

Plex

Delays^(x = 1, 2, ..., 4)

Delayx Sets the delay time for delay x.

T Delayx Controls the delay time for delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

.Mixer^(x = 1, 2, ..., 4)

Levelx Controls the level of delay x.

Panx Controls the stereo placement of delay x.

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preamps

fuzzADSRpre

(144 FuzzADSRPreamp)

This instrument preamp has compression, by-passable fuzz, EQ, remote 'volume pedal' and gate, as well as an ADSR controlled amp and an ASDR controlled filter for synth emulation.

Summed in, summed out

PreAmp

Comp

Thresh

Gain

Attack

Decay

Ratio

Sets the input threshold above which compression takes place and below which the signal is left alone.

Adjusts the output level to improve gain structure.

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Fuzz

Fuzz

Drive

Level

Flux

HiCut

Selects distortion "in" or "out".

Controls how much input (drive) is sent to the distortion. The greater the input, the greater the distortion.

Controls the output level of the distortion.

Controls the distortion "slew rate" to change its timbre, or how "in your face" it sounds.

Controls the cutoff frequency of a gentle lowpass filter.

Trim

Low

Mid

High

Low

Mid

High

Controls the input level to the EQ.

Controls the low EQ boost/cut.

Controls the mid EQ boost/cut.

Controls the high EQ boost/cut.

Controls the low EQ center frequency.

Controls the mid EQ center frequency.

Controls the high EQ center frequency.

Manual_P Allows users without an external pedal to modulate the effect from the front panel.

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A ADSR Controls the ADSR which modulates the Amp

Sens

Retrig

Controls the sensitivity of the A and F ADSR triggers.

Determines the crossfade time between the old modulation level and the new modulation level when the A

ADSR is retriggered.

A DLevel Controls the level of the initial A ADSR peak as a percentage of the total possible modulation output.

A SLevel Controls the level of the sustain portion of the A ADSR as a percentage of the total possible modulation output.

A Attack Controls the attack time.

A Decay Controls the decay time.

A Sustain Controls the sustain time.

A Release Controls the release time.

Peak

Attack

Decay

Smoothes the rise time of the signal that triggers the A and F ADSRs.

Smoothes the fall time of the signal that triggers the A and F ADSRs.

Filter

Gate

G Thresh Sets the input threshold that the signal must exceed to open the gate.

G Attack Controls how quickly the gate opens up once the signal exceeds the threshold.

G Decay Controls how quickly the gate closes once the signal falls below the threshold.

Filter

Freq

Fmod

Qmod

Type

Controls the "baseline" center frequency or cutoff frequency.

Controls how far from the "baseline" the cutoff frequency will deviate in response to the F ADSR modulation signal.

Controls the "baseline" bandwidth or resonance.

Controls how far from the "baseline" the Q will deviate in response to the F ADSR modulation signal.

Selects the type of filter.

F ADSR – controls the Filter ADSR

Sens Controls the sensitivity of the A and F ADSR triggers – this is the same control as above, duplicated for convenience.

Retrig Determines the crossfade time between the old modulation level and the new modulation level when the F ADSR is retriggered.

F DLevel Controls the level of the initial F ADSR peak as a percentage of the total possible modulation output.

F SLevel Controls the level of the sustain portion of the F ADSR as a percentage of the total possible modulation output.

F Attack Controls the attack time.

F Decay Controls the decay time.

F Sustain Controls the sustain time.

F Release Controls the release time.

Peak - same controls as above, duplicated for convenience

Attack

Decay

Smoothes the rise time of the signal that triggers the A and F ADSRs.

Smoothes the fall time of the signal that triggers the A and F ADSRs.

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bass pre

(145 BassPreamp)

A simple preamp configuration with compression, three-band EQ, class A distortion, and a 'thickener' parameter.

Summed in, summed out

Comp

Thresh

Ratio

Attack

Decay

Sets the input threshold above which compression of the signal takes place and below which the signal is left alone.

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Tone

Trim

Distort

Controls the input level to the EQ.

Low

Mid

Controls the low EQ boost/cut.

Controls the mid EQ boost/cut.

High

Controls the high EQ boost/cut.

Thicken

Controls the amount of "thickener". Slather it on...

Controls how much input (drive) is sent to the distortion. The greater the input, the greater the distortion.

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overdrive preamp

(146 OverdrivePreamp)

Instrument preamp with compression, bypassable fuzz, EQ, remote 'volume pedal' and gate. This flavor is an overdrive effect and is much more interactive with the source signal.

Summed in, summed out

PreAmp

Fuzz

Drive

Level

Flux

HiCut

Comp

Thresh

Gain

Attack

Decay

Ratio

Selects distortion "in" or "out".

Controls how much input (drive) is sent to the distortion. The greater the input, the greater the distortion.

Controls the output level of the distortion.

Controls the distortion "slew rate" to change its timbre, or how "in your face" it sounds.

Controls the cutoff frequency of a gentle lowpass filter.

Sets the input threshold above which compression takes place and below which the signal is left alone.

Adjusts the output level to improve gain structure.

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Trim

Mid1

Mid2

Controls the input level to the EQ.

Controls the mid1 EQ center frequency.

Controls the mid1 EQ boost/cut.

Controls the mid2 EQ center frequency.

Controls the mid2 EQ boost/cut.

Gate

G Thresh Sets the input threshold that the signal must exceed to open the gate.

G Attack Controls how quickly the gate opens up once the signal exceeds the threshold.

G Decay Controls how quickly the gate closes once the signal falls below the threshold.

Manual_P Allows users without an external pedal to modulate the effect from the front panel.

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fuzz preamp

(147 FuzzPreamp)

This instrument preamp has compression, bypass-able fuzz, EQ, remote 'volume pedal' and gate.

Summed in, summed out

PreAmp

Comp

Thresh

Gain

Attack

Decay

Ratio

Fuzz

Fuzz

Freq

Filter

Drive

Level

Flux

HiCut

Trim

Low

Mid

High

Low

Mid

High

Sets the input threshold above which compression takes place and below which the signal is left alone.

Adjusts the output level to improve gain structure.

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Selects distortion "in" or "out".

Controls the frequency of a pre-drive band EQ.

Controls the mix of the pre-drive filter.

Controls the bandwidth or resonance of the pre-drive filter.

Controls how much input (drive) is sent to the distortion. The greater the input, the greater the distortion.

Controls the output level of the distortion.

Controls the distortion "slew rate" to change its timbre, or how "in your face" it sounds.

Controls the cutoff frequency of a gentle lowpass filter.

Controls the input level to the EQ.

Controls the low EQ boost/cut.

Controls the mid EQ boost/cut.

Controls the high EQ boost/cut.

Controls the low EQ center frequency.

Controls the mid EQ center frequency.

Controls the high EQ center frequency.

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Gate

G Thresh Sets the input threshold that the signal must exceed to open the gate.

G Attack Controls how quickly the gate opens up once the signal exceeds the threshold.

G Decay Controls how quickly the gate closes once the signal falls below the threshold.

Manual_P Allows users without an external pedal to modulate the effect from the front panel.

polydriver

(148 PolyDriver)

A compressor feeds six bandpassed class A drivers mixed to stereo leading to a remote 'volume pedal' and gate.

Summed in, stereo out

PreAmp

Comp

Thresh

Gain

Attack

Decay

Ratio

Sets the input threshold above which compression takes place and below which the signal is left alone.

Adjusts the output level to improve gain structure.

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Drives

Trim Controls the input level to the distortion.

Drive 1..6 Controls the drive level of drive 1 to 6.

Filters

Freq 1..6 Controls the center frequency for band filter 1 thru 6.

HiCut

Controls the bandwidth for all six band filters.

Controls the cutoff frequency of a gentle lowpass filter.

Pans

Pan 1..6 Controls the stereo position for band 1 thru 6.

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fuzzpre wa/wammy

(149 FuzzWaWammyPre)

This is an instrument preamp with compression, bypass-able fuzz, EQ, remote 'volume pedal' and gate.

This flavor has 'wah-wah' and 'wammy' effects. You can choose which effect is controlled by the 'pedal.’

Summed in, summed out

PreAmp

Comp

Thresh

Gain

Attack

Decay

Ratio

Sets the input threshold above which compression takes place and below which the signal is left alone.

Adjusts the output level to improve gain structure.

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Trim

Low

Mid

High

Low

Mid

High

Fuzz

Fuzz

Drive

Level

Flux

HiCut

Selects distortion "in" or "out".

Controls how much input (drive) is sent to the distortion. More input, more distortion.

Controls the output level of the distortion.

Controls the distortion "slew rate" to change its timbre, or how "in your face" it sounds.

Controls the cutoff frequency of a gentle lowpass filter.

Controls the input level to the EQ.

Controls the low EQ boost/cut.

Controls the mid EQ boost/cut.

Controls the high EQ boost/cut.

Controls the low EQ center frequency.

Controls the mid EQ center frequency.

Controls the high EQ center frequency.

Gate

G Thresh Sets the input threshold that the signal must exceed to open the gate.

G Attack Controls how quickly the gate opens up once the signal exceeds the threshold.

G Decay Controls how quickly the gate closes once the signal falls below the threshold.

Pedals

Effect

Select which effect the external foot pedal will control: "volume", "wammy" (pitch shifter), or "wawa".

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Heel

Toe

Delay

Freq

Fmod

Qmod

Determines the "wammy" pitch when the pedal is at the heel position.

Determines the "wammy" pitch when the pedal is at the toe position.

Controls the "wammy" pitchshifter delay time.

Controls the "baseline" center frequency or cutoff frequency for the "wawa".

Controls how far from the "baseline" the cutoff frequency will deviate in response to the modulation signal for the "wawa".

Controls the "baseline" bandwidth or resonance for the "wawa".

Controls how far from the "baseline" the Q will deviate in response to the modulation signal for the

"wawa".

LowNote

Determines the lowest note the "wammy" pitchshifter will correctly shift. Set as high as possible for best results.

XFade

Controls the crossfade between old "wammy" pitchshift values and new pitchshift values.

Manual_P Allows users without an external pedal to modulate the effect from the front panel.

ez polyfuzz

(150 EZPolyFuzz)

A compressor feeds a four-band polyfuzz (each band feeds individual distortion elements). This one has simplified parameters.

Summed in, stereo out

PreAmp

Comp

Thresh

Gain

Attack

Decay

Ratio

Sets the input threshold above which compression takes place and below which the signal is left alone.

Adjusts the output level to improve gain structure.

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

PolyFuzz

Tone

Drive

Flux

Level

Image

Controls the overall tone of the distortion (higher values are brighter).

Controls the bandwidth of all the band filters.

Controls how much input (drive) is sent to the distortion. More input, more the distortion.

Controls the distortion "slew rate" to change its timbre, or how "in your face" it sounds.

Controls the output level of the distortion.

Controls the stereo spread of the effect.

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HiCut Controls the cutoff frequency of a gentle lowpass filter.

Gate

G Thresh Sets the input threshold that the signal must exceed to open the gate.

G Attack Controls how quickly the gate opens up once the signal exceeds the threshold.

G Decay Controls how quickly the gate closes once the signal falls below the threshold.

Manual_P Allows users without an external pedal to modulate the effect from the front panel.

polyfuzz

(151 PolyFuzz)

Here the compressor feeds a four band gated polyfuzz (each band feeds individual distortion elements).

This one has individual parameters.

Summed in, stereo out

Ch 1

CrossOver

Fuzz 1

Fuzz 2

Fuzz 3

Fuzz 4

Gate 1

Gate 2

Gate 3

Gate 4

OUT

Ch 2

PolyFuzz

Filters^(x = 1, 2, 3, 4)

Freq x

Q x

Controls the center frequency for band filter x.

Controls the bandwidth for band filter x.

Fuzz^(x = 1, 2, 3, 4)

Drive x

Level x

Controls how much input (drive) from band filter x is sent to the distortion. The greater the input, the

greater the distortion.

Controls the output level of drive x.

HiCuts^(x = 1, 2, 3, 4)

Flux x Controls the distortion "slew rate" of drive x to change its timbre, or how "in your face" it sounds.

HiCut x Controls the cutoff frequency of a gentle lowpass filter after drive x.

Image^(x = 1, 2, 3, 4)

Pan x Controls where in the stereo field drive x will appear (negative values scoot it left and positive values

scoot it right).

Gates^(x = 1, 2, 3, 4)

Thresh Sets the input threshold that the signal must exceed to open the gate.

Attack x Controls how quickly the gate after drive x opens up once the signal exceeds the threshold.

Decay x Controls how quickly the gate after drive x closes once the signal falls below the threshold.

Manual_P Allows users without an external pedal to modulate the effect from the front panel.

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distortion preamp

(196 DistortionPreamp)

This instrument preamp has compression, dynamic distortion, EQ, remote 'volume pedal' and gate.

Summed in, summed out

PreAmp

Comp

Thresh

Sets the input threshold above which compression takes place and below which the signal is left alone.

Gain

Adjusts the output level to improve gain structure.

Attack

Decay

Ratio

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Distortion

Filter

Freq

Curve

Drive

Level

Flux

HiCut

Fdbk

Trim

Low

Mid

High

Low

Mid

High

Mid Q

Controls the mix of the pre-drive filter.

Controls the frequency of a pre-drive band EQ.

Controls the bandwidth or resonance of the pre-drive filter.

Selects which transformation curve is used to generate distortion.

Controls how much input (drive) is sent to the distortion. The greater the input, the greater the distortion.

Controls the output level of the distortion.

Controls the distortion "slew rate" to change its timbre, or how "in your face" it sounds.

Controls the cutoff frequency of a gentle lowpass filter.

Controls the amount of “forced feedback,” similar to an amplifier feeding back at high volume levels.

Controls the input level to the EQ.

Controls the low EQ boost/cut.

Controls the mid EQ boost/cut.

Controls the high EQ boost/cut.

Controls the low EQ center frequency.

Controls the mid EQ center frequency.

Controls the high EQ center frequency.

Controls the bandwidth amount for the mid EQ frequency

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Gate

G Thresh

G Attack

G Decay

Manual_P

Sets the input threshold that the signal must exceed to open the gate.

Controls how quickly the gate opens up once the signal exceeds the threshold.

Controls how quickly the gate closes once the signal falls below the threshold.

Allows users without an external pedal to modulate the effect from the front panel.

st distortion

(197 St Distortion)

This distortion tool has compression, and dynamic morphing distortion.

Stereo in, stereo out.

PreAmp

Comp

Thresh

Ratio

Gain

Attack

Decay

Sets the input threshold above which compression takes place and below which the signal is left alone.

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Adjusts the output level to improve gain structure.

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Distortion

Distortion Selects distortion "in" or "out".

Filter

Controls the mix of the pre-drive filter.

Freq

Controls the frequency of a pre-drive band EQ.

Controls the bandwidth or resonance of the pre-drive filter.

Drive

Controls how much input (drive) is sent to the distortion. The greater the input, the greater the distortion.

Level

Controls the output level of the distortion.

Curve1

Selects which transformation curve is used to generate distortion (with no modulation at (morph)).

Flux

HiCut

Controls the distortion "slew rate" to change its timbre, or how "in your face" it sounds.

Controls the cutoff frequency of a gentle lowpass filter.

Man_morph Allows users without an external pedal to modulate between (curve#1) and (curve #2) from the front panel.

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shifters

A diatonic pitch shifter shifts the musical pitch of an audio signal while maintaining the proper harmonic relationship to a diatonic scale. To accomplish this, the user specifies the desired key, scale and musical interval. The pitch shifter takes care of finding out what note is being played and automatically adjusts the amount of pitch shift so that the resultant note is in-key.

In general, the operation of any shifter can be improved by optimizing the setting of the ‘low note’ parameter, which defines the lowest note that the shifter recognizes. This should be set low for polyphonic material such as guitar, and higher for vocals.

The ‘xfade’ parameter can usually be left alone – greater values may increase smoothness at the cost of blurring transients, lower values may add roughness.

auto pitch correct

(158 AutoCorrect)

This algorithm is essentially a diatonic shifter with independent delay parameters. Set as 'chromatic.’

Summed in, stereo out

Meter

Error

Fixed

Monitors how far off the Eclipse believes the input is from "correct".

Monitors how far the Eclipse is bending (or fixing) the input to correct the error.

Shift

Send

Quant

Tune

Determines the level of "quantization", or how close the Eclipse will bring an "off" note to "perfection".

Controls the detector's calibration, allowing for deviation from A-440 tuning.

Key

Scale

Selects the key that the corrector references (if a scale is in fact selected under Scale).

Selects the scale that the corrector references.

Glide

Controls how quickly the shifter slides between shift values.

Delay L Controls the left channel shifter delay time.

Delay R Controls the right channel shifter delay time.

Level L

Controls the left channel output level.

Level R

Controls the right channel output level.

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Cal

LowNote

Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

Source

XFade

Optimizes the corrector for either "vocal" or "instrument" input.

Controls the crossfade between old pitchshift values and new pitchshift values.

dual wammy

(159 DualWammy)

This externally controlled shifter has 'master' and individual channel parameters. Pitch and modulation are set up as 'heel/toe' parameters.

Stereo in, stereo out

Master

Bypass

Selects "fx in" or "fx out".

Man_Wam Allows users without an external pedal to modulate the effect from the front panel.

Heel

Determines the "wammy" pitch when the pedal is at the heel position.

Toe

Delay

Determines the "wammy" pitch when the pedal is at the toe position.

Controls the "wammy" pitchshifter delay time.

LowNote

Determines the lowest note the "wammy" pitchshifter will correctly shift. Set as high as possible for best results.

XFade

Controls the crossfade between old "wammy" pitchshift values and new pitchshift values.

Wammy#1

Parameters similar to those described above, dedicated to "wammy" pitchshifter 1; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

Wammy#2

Parameters similar to those described above, dedicated to "wammy" pitchshifter 2; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

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4 detuners

(160 4Detuners)

There are four 660 mS detuners with independent feedback paths. 'Tightness' is a master length/splice parameter.

Stereo in, stereo out

Masters

Send

m_Level

Scales all the individual detune levels, effectively serving as a master volume.

m_Pitch

Scales all the individual detune amounts, effectively serving as a master pitch.

m_Delay

Scales all the individual detune delay times, effectively serving as a master delay (e.g. if the four delays are set to 200ms, 150ms, 100ms, and 50ms, setting M_Delay to 50% cuts those times in half (100ms, 75ms, 50ms, and

25ms)).

m_Fback

Scales all the individual detune delay feedbacks, effectively serving as a master feedback (i.e. if M_Fback is set to 0%, all the delays will have no feedback, regardless of their individual settings. Alternatively, you could also have no feedback with M_Fback set to 100% if you set each delay's feedback parameter to 0%.).

m_Pan

Scales all the individual detune pans, effectively serving as an image spread control (i.e. if M_Pan is set to 0%, all the delays will be panned center, regardless of their individual settings).

Tightnes

Controls the "length" of the detuner. Shorter values yield tighter, albeit glitched results. Longer values yield deglitched, albeit "looser" results. Find the happy medium!

Shift^(x = 1, 2, 3, 4)

Detune x

Controls the detune amount of detune x.

Level x

Delay x

Controls the level of detune x.

Controls the delay time of detune x.

Fback x

Controls how much of detune x's output is reapplied to its input.

Pan x

Controls where in the stereo field detune x will appear.

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reverse crystals

(161 ReverseCrystals)

Here we have two five second reverse shifters where the feedback signal can be the sum of the outputs, the channel output or the other channel for ‘crisscross’ effects. Note that the delay times are independent of the splice length (keep at 0 ms for splicing referenced to actual delay perceived).

Stereo in, stereo out

Ch 1 S

Reverse

Shift

HiCut

Ch 1

+ feedback matrix

OUT

Ch 2 S

Reverse

Shift

HiCut

Ch 2

Masters

Send

Mix

Controls the wet-to-dry ratio. If set to "0%", you won't hear any "crystals". If set to "100%" you'll hear nothing but "crystals".

m_Fback

FB Type Determines if the feedback from each "crystal" will return to its own input, to the other delay's input, or to both.

Hicut

Controls the lowpass filter cutoff frequency.

Crystals^(x = 1, 2)

Pitch x

Controls the pitch of reverse shifter x.

Fback x

Controls how much of reverse shifter x's output is reapplied to its input.

Length x

Controls the audible delay time. Either reflects this time as entered by the T_Length to its right (given the current tempo) or allows you to enter the delay time in milliseconds.

T_Length Controls the audible delay time. Controls this time in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Delay x

Controls the pitchshifting delay (typically very short). Either reflects the physical delay time as entered by

T_Delayx (given the current tempo) or allows you to enter the delay time in milliseconds .

T_Delay x Controls the pitchshifting delay (typically very short). Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

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stereoshift

(162 St Shifter)

This phase-coherent, non-diatonic shifter has simple controls. It is designed to preserve the stereo

‘image’ of the input signal.

Stereo in, stereo out

Shift

Send

Level

Pitch

Delay

Fback

Controls the output level.

Controls the amount of pitchshift effect.

Controls the delay time for optimal performance.

Controls how much of the pitchshifter's output is reapplied to its input.

LowNote

Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

XFade

Controls the crossfade between old pitchshift values and new pitchshift values.

diatonicshift 2

(163 DiatonicShift2)

A single two-voice diatonic shifter whose feedback path is the sum of both outputs, with 'master' and individual parameters. LFO and external modulation are available.

Summed in, stereo out

Masters

Send

m_Level

Scales both pitchshifter levels, effectively serving as a master volume.

m_Dly

Scales both delay times, effectively serving as a master delay.

m_Mod

Scales both modulation amounts, effectively serving as a... you guessed it.

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Scales both pitchshifter pans, effectively serving as an image spread control.

Cal

Tune

Key

Scale

Quant

Controls the detector's calibration, allowing for deviation from A-440 tuning.

Selects the key that the detector references (if a scale is in fact selected under Scale).

Selects the scale that the detector references.

Determines the level of "quantization", or how close the Eclipse will bring an "off" note to "perfection".

LowNote Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

XFade Controls the crossfade between old pitchshift values and new pitchshift values.

Glide Controls how quickly the shifter slides between shift values.

Shift^(x = 1, 2)

Pitch x

Mod x

Controls the amount of pitchshift effect for pitchshifter x.

Controls the amount of pitch modulation for a vibrato effect.

Manual_M Allows users without an external pedal to modulate the effect from the front panel.

Delay x

Either reflects the physical delay time as entered by T_Delayx (given the current tempo) or allows you to enter the delay time in milliseconds .

T_Delay x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

UsrScale

Two user scales may be defined here. User scale 1 and User scale 2 are selected for each voice with the Pitch x parameter

(see above). The User Scale 1 and User Scale 2 settings appear at the end of the list of the Pitch x controls.

C, C#, etc Sets the interval to be shifted for each note in the selected scale. The incoming note is always conformed to the selected key and scale before looking up the shift interval in the User Scale settings. The actual audio will not be conformed to the chosen scale unless the Quant parameter is enabled. On any note, if no harmony is desired simply set that interval to 0 cents. To emulate the H3000 User define scales, be sure to select the chromatic scale.

For example, if you set E to +300 cents and F to +500 cents with the scale set to chromatic, when you trill between E and F, the Eclipse will trill between G and Bb. If you set E to +300 cents and F# to +500 cents with the scale set to D major and quantization at 0%, when you trill between E and F, the Eclipse will trill between G and Bb (F is quantized to F# before looking up the user interval), and when you trill between F and F#, Eclipse will trill between Bb and B. If you set E to +300 cents and F# to +500 cents with the scale set to D major and quantization set to 100%, when you trill between E and F, the Eclipse will trill between G and B (F is quantized to F# before looking up the user interval, and shifted up to F# before applying the user defined interval), and when you trill between F and F#, Eclipse will produce a B for both input notes.

LFO

Mode

Rate

T_Rate

Shape

Duty

Selects whether the LFO will modulate each shifter in phase ("lfo sync") or out of phase ("lfo oppose"). Also allows an external source to modulate the shifters ("manual/ext").

Controls the modulation rate if T_Rate is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Determines the shape of the modulating signal.

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Retrig

Angle

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Mix^(x = 1, 2)

Level x

Pan x

Controls the output level of pitch shifter x.

Controls the stereo placement of pitch shifter x.

Fback x

Controls how much of pitch shifter x's output is reapplied to its input.

multishift 2

(164 MultiShift2)

A single two-voice, non-diatonic shifter whose feedback path is the sum of both outputs, with 'master' and individual parameters. LFO and external modulation are available.

Summed in, stereo out

See “diatonic 2” above for diagram.

Masters

Send

m_Level

Scales both pitchshifter levels, effectively serving as a master volume.

m_Pitch

Scales both pitch shift amounts, effectively serving as a master pitch.

m_Mod

Scales both modulation amounts, effectively serving as a master modulation amount.

m_Dly m_Pan

Scales both delay times, effectively serving as a master delay.

Scales both pitchshifter pans, effectively serving as an image spread control.

Cal

LowNote Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

XFade Controls the crossfade between old pitchshift values and new pitchshift values.

Shift^(x = 1, 2)

Pitch x

Mod x

Controls the amount of pitchshift effect for pitchshifter x.

Controls the amount of pitch modulation for a vibrato effect.

Delay x

Either reflects the physical delay time as entered by T_Delayx (given the current tempo) or allows you to enter the delay time in milliseconds .

T_Delay x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Manual_M Allows users without an external pedal to modulate the effect from the front panel.

LFO

Mode

Rate

T_Rate

Shape

Selects whether the LFO will modulate each shifter in phase ("lfo sync") or out of phase ("lfo oppose"). Also allows an external source to modulate the shifters ("manual/ext").

Controls the modulation rate if T_Rate is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Determines the shape of the modulating signal.

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Duty

Retrig

Angle

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Mix^(x = 1, 2)

Level x

Controls the output level of pitch shifter x.

Pan x

Controls the stereo placement of pitch shifter x.

Fback x

Controls how much of pitch shifter x's output is reapplied to its input.

dual diatonic

(165 DualDiatonic)

Here we have dual two-voice diatonic shifters with individual feedback paths as well as 'master' and individual channel parameters.

Stereo in, stereo out

Masters

Send

m_Level

Scales both pitchshifter levels, effectively serving as a master volume.

m_Dly

Scales both delay times, effectively serving as a master delay.

m_Mod m_Pan

Scales both modulation amounts, effectively serving as a... you guessed it.

Scales both pitchshifter pans, effectively serving as an image spread control.

Cal

Tune

Key

Scale

Controls the detector's calibration, allowing for deviation from A-440 tuning.

Selects the key that the detector references (if a scale is in fact selected under Scale).

Selects the scale that the detector references.

Quant Determines the level of "quantization", or how close the Eclipse will bring an "off" note to

"perfection".

LowNote Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

XFade Controls the crossfade between old pitchshift values and new pitchshift values.

Glide Controls how quickly the shifter slides between shift values.

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Shift^(x = 1, 2)

Pitch x

Controls the amount of pitchshift effect for pitchshifter x.

Mod x

Controls the amount of pitch modulation for a vibrato effect.

Manual_M Allows users without an external pedal to modulate the effect from the front panel.

Delay x

Either reflects the physical delay time as entered by T_Delayx (given the current tempo) or allows you to enter the delay time in milliseconds .

T_Delay x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

UsrScale

Two user scales may be defined here. User scale 1 and User scale 2 are selected for each voice with the Pitch x

parameter (see above). The User Scale 1 and User Scale 2 settings appear at the end of the list of the Pitch x

controls.

The actual audio will not be conformed to the chosen scale unless the Quant parameter is enabled. On any note, if no harmony is desired simply set that interval to 0 cents. To emulate the H3000 User define scales, be sure to select the chromatic scale.

+500 cents with the scale set to D major and quantization at 0%, when you trill between E and F, the

Eclipse will trill between G and Bb (F is quantized to F# before looking up the user interval), and when you trill between F and F#, Eclipse will trill between Bb and B. If you set E to +300 cents and F# to

+500 cents with the scale set to D major and quantization set to 100%, when you trill between E and F, the Eclipse will trill between G and B (F is quantized to F# before looking up the user interval, and shifted up to F# before applying the user defined interval), and when you trill between F and F#,

Eclipse will produce a B for both input notes.

LFO

Mode

Rate

T_Rate

Shape

Duty

Retrig

Angle

Selects whether the LFO will modulate each shifter in phase ("lfo sync") or out of phase ("lfo oppose"). Also allows an external source to modulate the shifters ("manual/ext").

Controls the modulation rate if T_Rate is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Determines the shape of the modulating signal.

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Mix^(x = 1, 2)

Level x

Pan x

Controls the output level of pitch shifter x.

Controls the stereo placement of pitch shifter x.

Fback x

Controls how much of pitch shifter x's output is reapplied to its input.

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dual multishift

(166 DualMultishift)

This algorithm offers dual two-voice non-diatonic shifters with individual feedback paths as well as

'master' and individual channel parameters.

Stereo in, stereo out

See “dual diatonic” above for diagram.

Masters

Send

m_Level

Scales both pitchshifter levels, effectively serving as a master volume.

m_Pitch

Scales both pitch shift amounts, effectively serving as a master pitch.

m_Mod m_Dly m_Pan

Scales both modulation amounts, effectively serving as a master modulation amount.

Scales both delay times, effectively serving as a master delay.

Scales both pitchshifter pans, effectively serving as an image spread control.

Cal

LowNote Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

XFade Controls the crossfade between old pitchshift values and new pitchshift values.

Shift^(x = 1, 2)

Pitch x

Controls the amount of pitchshift effect for pitchshifter x.

Mod x

Delay x

Controls the amount of pitch modulation for a vibrato effect.

Either reflects the physical delay time as entered by T_Delayx (given the current tempo) or allows you to enter the delay time in milliseconds .

T_Delay x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Manual_M Allows users without an external pedal to modulate the effect from the front panel.

LFO

Mode

Rate

T_Rate

Shape

Duty

Retrig

Angle

Selects whether the LFO will modulate each shifter in phase ("lfo sync") or out of phase ("lfo oppose"). Also allows an external source to modulate the shifters ("manual/ext").

Controls the modulation rate if T_Rate is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Determines the shape of the modulating signal.

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Mix^(x = 1, 2)

Level x

Controls the output level of pitch shifter x.

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Pan x

Controls the stereo placement of pitch shifter x.

Fback x

Controls how much of pitch shifter x's output is reapplied to its input.

diatonic 4

(167 DiatonicShift4)

This single four-voice diatonic shifter has 'master' and individual parameters (except 'pitch').

Summed in, stereo out

Masters

Send

m_Level

Scales both pitchshifter levels, effectively serving as a master volume.

m_Dly m_Pan

Scales both delay times, effectively serving as a master delay.

Scales both pitchshifter pans, effectively serving as an image spread control.

Cal

Tune

Key

Scale

Controls the detector's calibration, allowing for deviation from A-440 tuning.

Selects the key that the detector references (if a scale is in fact selected under Scale).

Selects the scale that the detector references.

Quant Determines the level of "quantization", or how close the Eclipse will bring an "off" note to

"perfection".

LowNote Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

XFade Controls the crossfade between old pitchshift values and new pitchshift values.

Glide Controls how quickly the shifter slides between shift values.

Shift^(x = 1, 2, 3, 4)

Pitchx

Modx

Controls the amount of pitchshift effect for pitchshifter x.

Controls the amount of pitch modulation for a vibrato effect.

Manual_M Allows users without an external pedal to modulate the effect from the front panel.

Delayx

Either reflects the physical delay time as entered by T_Delayx (given the current tempo) or allows you to enter the delay time in milliseconds .

T_Delayx Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

UsrScale

Two user scales may be defined here. User scale 1 and User scale 2 are selected for each voice with the Pitch x

parameter (see above). The User Scale 1 and User Scale 2 settings appear at the end of the list of the Pitch x

controls.

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+500 cents with the scale set to D major and quantization at 0%, when you trill between E and F, the

Eclipse will produce a B for both input notes.

Mix^(x = 1, 2, 3, 4)

Level x

Pan x

Controls the output level of pitch shifter x.

Controls the stereo placement of pitch shifter x.

multishift 4

(168 MultiShift4)

A single four voice non-diatonic shifter with 'master' and individual parameters.

Summed in, stereo out

See “diatonic 4” above for diagram.

Masters

Send

m_Level

Scales both pitchshifter levels, effectively serving as a master volume.

m_Pitch

Scales both pitch shift amounts, effectively serving as a master pitch.

m_Dly m_Pan

Scales both delay times, effectively serving as a master delay.

Scales both pitchshifter pans, effectively serving as an image spread control.

Cal

LowNote Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

XFade Controls the crossfade between old pitchshift values and new pitchshift values.

Shift^(x = 1, 2)

Pitch x

Delay x

Controls the amount of pitchshift effect for pitchshifter x.

Either reflects the physical delay time as entered by T_Delayx (given the current tempo) or allows you to enter the delay time in milliseconds .

T_Delay x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Manual_M Allows users without an external pedal to modulate the effect from the front panel.

Mix^(x = 1, 2)

Level x

Pan x

Controls the output level of pitch shifter x.

Controls the stereo placement of pitch shifter x.

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dual modfreqshift

(170 ModFreqShift)

This two-channel algorithm contains sweepable ring modulators, controlled by 'master' and individual channel parameters. The 'mode' selector allows the modulation source to be selected from LFO, envelope or pedal.

Stereo in, stereo out

Master

Send

Determines the wet (ring mod) to dry ratio for both rings (you can overwrite this value under Ring#1 or Ring#2. Mix

Mode

Selects whether the LFO, the envelope generator, or an external pedal will modulate both rings (you can overwrite this value under Ring#1 or Ring#2).

m_Rate

Scales the individual LFO rates.

m_Ring

Scales the individual ring amounts.

m_Mod

Scales the individual modulation amounts.

Man_Ped Allows users without an external pedal to modulate the effect from the front panel.

Env/LFO

Env

Sens

Attack

Decay

Shape

Duty

Retrig

Angle

Determines which input or inputs the envelope follower will track.

Controls how sensitive the envelope follower is; alter this parameter to match the average input level to the amount of modulation desired.

Controls how quickly the envelope follower will track an increase at its input.

Controls how quickly the envelope follower will track a decrease at its input.

Determines the shape of the modulating signal.

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

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Ring#1

Mix1

Mode1

Rate1

Determines the wet (ring mod) to dry ratio for ring 1 (you can overwrite this value under Master).

Selects whether the LFO, the envelope generator, or an external pedal will modulate ring 1 (you can overwrite this value under Master).

Controls the modulation rate for ring 1 if T_Rate1 is set to "off" or reflects the physical modulation rate as selected by T_Rate1 and the system tempo.

T_Rate

Ring1

Controls the modulation rate on ring 1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Either reflects the physical ring depth as entered by T_Ring1 (given the current tempo) or allows you to enter the ring depth in Hertz if T_Ring1 is set to "Off".

T_Ring1 Controls ring depth 1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic ring depth generation

"off". The actual ring depth displayed under Ring1 is a function of this control and the current system tempo.

RMod1

Controls how much the ring depth varies in response to the modulation source.

Man_Ped1 Allows users without an external pedal to modulate the effect from the front panel.

Ring#2

Parameters analogous to Ring#1.

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verbs

A diffusor creates a dense field of delay repeats that is typically used to create reverberator structures -

it may also be thought of as essentially a chain of series-connected allpass filters.

A reverb proper usually consists of a pre-delay, to give early reflections, followed by a number of reverb lines, which are delay sections with multiple feedback loops. Usually, a reverb with more lines will be

smoother and more natural sounding.

reverb 8

(174 Reverb 8)

A short reverb with eight 200-mS lines. Decay time is controlled by tempo.

Stereo in, stereo out

See “long reverb 8” above for diagram and parameters.

long reverb 8

(175 LongVerb8 )

This reverb has a long decay with eight two-second lines. Decay time is controlled by tempo (rdecay).

Stereo in, stereo out

Verb

Send

R Level Controls the output level.

RDecay

Either reflects the physical reverb decay as entered by T_RDecay (given the current tempo) or allows you to enter the reverb decay in seconds if T_RDecay is set to "Off".

T_RDecay Controls the reverb decay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic decay generation

"off".

RSize

PreDly

Controls the reverb's room size by scaling the actual delay times.

Controls how long the predelay is. Predelay is inserted before the reverb because in a real room, reverb arrives at a listener's ears some time after the dry sound. The larger the room, the longer the lag.

HiCut

Controls the cut of a high-frequency shelving EQ.

LowCut

Controls the cut of a low-frequency shelving EQ.

HiFreq

Controls the frequency at which the high-frequency shelving EQ begins to act.

LowFreq

Controls the frequency at which the low-frequency shelving EQ begins to act.

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Depth

Rate

Span

Glide

Eclipse Algorithms Manual

Controls how much individual delay times will vary in response to the LFO controlled by Rate. Determines the

"thickness" of the chorus effect.

Scales each delay's LFO rate, effectively serving as a master rate.

Scales each delay's pan setting, effectively controlling the image width.

Controls how quickly delay times arrive at new values when individual delay times are adjusted (either directly or via RSize).

reverb 16

(176 Reverb 16)

A dense reverb with sixteen 200-mS lines. Decay time is controlled by tempo.

Stereo in, stereo out

See “long reverb 8” above for diagram and parameters.

dense room 8

(177 DenseRoom 8)

This reverb is similar to “dense room 16,” above, with only eight reverb lines.

Stereo in, stereo out

See “dense room 16” above for diagram and parameters.

dense room 16

(178 DenseRoom16)

This dense reverb offers a stereo 200-mS predelay to give early reflection signals. The predelay also feeds two four-part 500-mS diffusors which in turn feed a reverb with sixteen 200-ms lines. (This is an extension of the popular Eventide H3000 structure.) The final out put is a mix of the predelay signals

(early), the diffusor output (position) and the reverb output. Decay time is controlled by tempo.

Stereo in, stereo out

Verb

Send

R Level

Early

Controls the output level.

Controls the level of the pre-delay signal, utilized as an early reflection (in a real room, the first, relatively coherent reflection off of the nearest surface).

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Position

Controls the apparent position in the “room”, or how deep you are into the reverberant field.

Diffusion

A master feedback control for the diffusors, controlling their "fuzziness" or "distinctness.”

DSize

Controls the diffusor's "size" by scaling its delay times.

RDecay

Either reflects the physical reverb decay as entered by T_RDecay (given the current tempo) or allows you to enter the reverb decay in seconds if T_RDecay is set to "Off".

T_RDecay Controls the reverb decay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic decay generation

"off".

RSize

Controls the reverb's room size by scaling the actual delay times.

PreDly

HiCut

Controls the cut of a high-frequency shelving EQ.

LowCut

Controls the cut of a low-frequency shelving EQ.

HiFreq

Controls the frequency at which the high-frequency shelving EQ begins to act.

LowFreq

Controls the frequency at which the low-frequency shelving EQ begins to act.

Depth

Controls how much individual delay times will vary in response to the LFO controlled by Rate. Determines the

"thickness" of the chorus effect.

Rate

Span

Glide

Scales each delay's LFO rate, effectively serving as a master rate.

Scales each delay's pan setting, effectively controlling the image width.

Controls how quickly delay times arrive at new values when individual delay times are adjusted (either directly or via RSize).

s_diffusor

(180 St Diffusor)

This algorithm contains two four-part 500-mS diffusors.

Stereo in, stereo out

Verb

Send

Level

Controls the output level.

Diffusion

A master feedback control for the diffusors, controlling their "fuzziness" or "distinctness.”

DSize

Controls the diffusor's "size" by scaling its delay times.

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diffchorus

(181 Diffchorus)

This algorithm contains two four-part 500-mS diffusors with internal modulation to randomize the effect. An adjustable high-cut filter may be used to smooth out the result.

Stereo in, stereo out

Diffusor

Send

Level

Controls the output level.

Diffusion

A master feedback control for the diffusors, controlling their "fuzziness" or "distinctness.”

DSize

Controls the diffusor's "size" by scaling its delay times.

Depth

Controls how much individual delay times will vary in response to the LFO controlled by Rate. Determines the

"thickness" of the chorus effect.

Rate

HiCut

Span

Glide

Scales each delay's LFO rate, effectively serving as a master rate.

Controls the cutoff frequency of a gentle low-pass filter.

Scales each delay's pan setting, effectively controlling the image width.

Controls how quickly delay times arrive at new values when individual delay times are adjusted (either directly or via RSize).

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combos

fm modfilter/pan

(152 FmFilterPan)

This algorithm consists of a modulated filter feeding a panner. The modulation source for both the filter and the panner is controlled by the envelope of the input.

Stereo in, stereo out

Filt/Pan

Send

Level

Freq

Fmod

Qmod

Pan

Controls the output level of the filter..

Controls the "baseline" center frequency or cutoff frequency.

Controls how far from the "baseline" the cutoff frequency will deviate in response to the modulation signal.

Controls the "baseline" bandwidth or resonance.

Controls how far from the "baseline" the Q will deviate in response to the modulation signal.

Determines if the modulation will work in phase ("sync") or out of phase ("oppose").

LFO

Rate

Controls the modulation rate if T_Rate1 is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

T_Rate Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

FMRate

Analogous to Rate, except that this pertains to modulation of the LFO's signal (not to modulation of the panner directly).

T_FMRate Analogous to T_Rate, except that this pertains to modulation of the LFO's signal (not to modulation of the panner directly).

Shape

Determines the shape of the modulating signal.

Duty

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Polarity

When set to "unipolar", modulations add the value of Fmod to Freq. When set to "bipolar", modulations add the value of Fmod to Freq and subtract the value of Fmod from Freq (the same goes for Q and Qmod).

Retrig

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Angle

Env

Sens

Attack

Decay

Controls how sensitive the envelope follower is; alter this parameter to change the "depth" of the FM effect.

Controls how fast the envelope follower will track an increase in volume.

Controls how fast the envelope follower will track a decrease in volume.

LFO filter+pingpong

(153 LfoFilter+Pong)

This effect consists of two filters modulated by two LFOs. The first LFO controls the rate of modulation, while the second controls the depth of that modulation, giving a sort of vintage synth effect.

The stereo output of these filters is then mixed with the dry input signal, and summed to feed a pingpong delay with pre-delay. Tempo controls rates and delay times.

Stereo in, stereo out

Mod^(x = 1, 2)

Rate x

Controls LFO x's modulation rate if T_Ratex is set to "off" or reflects the physical LFO modulation rate as selected by T_Ratex and the system tempo.

T_Rate x Controls LFO x's modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic LFO modulation generation "off".

Wave x

Retrig

Determines the shape of filter x's modulating signal.

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Angle

Given most configurations of the Eclipse, the LFOs will "start over" when the tempo button is tapped or when an external sequence is started. Angle determines where in their waveform the LFOs begin.

Filter

Send

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Mix

Freq

Fmod

Qmod

Controls the ratio between the dry and wet (filtered) signal.

Controls the "baseline" cutoff frequency.

Controls how far from the "baseline" the cutoff frequency will deviate in response to the modulation signal.

Controls the "baseline" resonance.

Controls how far from the "baseline" the Q will deviate in response to the modulation signal.

Delays

Level

PDelay

Controls the output level of the ping pong delay.

Either reflects the physical pre-delay time as entered by T_PDelay (given the current tempo) or allows you to enter the pre-delay time in milliseconds if T_PDelay is set to "Off".

T_PDelay Controls the pre-delay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic pre-delay generation

"off".

Pong

Either reflects the physical pong time as entered by T_Pong (given the current tempo) or allows you to enter the pong time in milliseconds if T_Pong is set to "Off".

T_Pong Controls the pong in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic pong generation "off". The actual pong time displayed under Pong is a function of this control and the current system tempo.

FBack

Controls how much of the pong's output is reapplied to its input.

s/h filter+pingpong

(154 S/HFilter+Pong)

The output of stereo sample-and-hold filters is mixed with the dry input signal, and are also summed to feed a ping-pong delay with pre-delay. Tempo controls rates and delay times.

Stereo in, stereo out

Ch 1 S

Filter

Ch 1

Ch 2

Ping Pong Delay

OUT

Ch 2

Filter

LFO

Sample

& Hold

S/H

Send

Mix

F Min

F Max

Reson

Flux

Controls the ratio between the dry and wet (S/H) signal.

Sets the minimum frequency for the Sample and Hold.

Sets the maximum frequency for the Sample and Hold.

Controls the filter resonance.

Controls how quickly the filter moves between "notes".

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Rate

T_Rate

Retrig

Angle

Controls the modulation rate if T_Rate is set to "off" or reflects the physical modulation rate as selected by

T_Rate and the system tempo.

Controls the modulation rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic modulation generation "off".

Whenever Rate is changed (either manually or by updating the tempo), the new Rate is crossfaded with the old

Rate. The value of Retrig controls how long the crossfade is as a percentage of the old Rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old Rate.

Delays

Level

PDelay

Controls the output level of the ping pong delay.

Either reflects the physical pre-delay time as entered by T_PDelay (given the current tempo) or allows you to enter the pre-delay time in milliseconds if T_PDelay is set to "Off".

T_PDelay Controls the pre-delay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic pre-delay generation

"off".

Pong

Either reflects the physical pong time as entered by T_Pong (given the current tempo) or allows you to enter the pong time in milliseconds if T_Pong is set to "Off".

T_Pong Controls the pong in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic pong generation "off".

FBack

Controls how much of the pong's output is reapplied to its input.

manifold alpha

(155 ManifoldAlpha)

This is a pitch-shifting loop and slap delay. A mixer at the shifter input selects between the source and the loop signals, while another mixer at the loop input selects between the source and the shifted signals.

Both outputs (pitch and loop) are then mixed with the left input (channel #1) and fed to the slap delay output on the left side, while the loop and pitch also get fed directly to the right output. Tempo may be used to control delay as well as loop and slap length.

Summed in, stereo out

Shift

S InMix Controls what percentage of the pitchshifter's input comes from the right input ("0%") and what percentage comes from the loop output ("100%").

S Input

S Level

Pitch

Controls the input level to the pitchshifter.

Controls the output level of the pitchshifter.

Controls the amount of pitchshifting.

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Delay

Either reflects the pitchshifter's physical delay time as entered by T_Delay (given the current tempo) or allows you to enter the delay time in milliseconds if T_Delay is set to "Off".

T_Delay Controls the pitchshifter delay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation

"off".

S Fback Controls how much of the pitchshifter's output is reapplied to its input.

LowNote

Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

Delay

Controls the crossfade between old pitchshift values and new pitchshift values.

Loop

Send

L InMix Controls what percentage of the loop's input comes from the right input ("0%") and what percentage comes from the pitchshifter output ("100%").

L Input

L Level

Loop

Controls the input level to the loop.

Controls the output level of the loop.

#Bars

Either reflects the physical loop time as entered by #Bars (given the current tempo) or allows you to enter the loop time in milliseconds if #Bars is left untouched and the system tempo is not updated (it's better to use #Bars,

OK?).

Controls the length of the loop in terms of bars. The actual loop time displayed under Loop is a function of this control and the current system tempo.

L Fback Controls how much of the loop's output is reapplied to its input.

Slap

D Level Controls the output level of the slap delay.

Delay

Either reflects the physical delay time as entered by T_Delay (given the current tempo) or allows you to enter the delay time in milliseconds if T_Delay is set to "Off".

T_Delay Controls the delay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off". The actual delay time displayed under Delay is a function of this control and the current system tempo.

manifold beta

(156 ManifoldBeta)

This algorithm is essentially a version of “manifold alpha,” but it uses a reverse shifter rather than the normal (forward) pitch shifter.

Summed in, stereo out

See “manifold alpha” above for diagram.

Reverse

S InMix Controls what percentage of the pitchshifter's input comes from the right input ("0%") and what percentage comes from the loop output ("100%").

S Input Controls the input level to the pitchshifter.

S Level

Pitch

Length

Controls the output level of the pitchshifter.

Controls the amount of pitchshifting.

Either reflects the pitchshifter's physical delay time as entered by T_Delay (given the current tempo) or allows you to enter the delay time in milliseconds if T_Delay is set to "Off".

T_Length Controls the pitchshifter delay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation

"off".

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Delay

Controls the pitchshifting delay (typically very short).

S Fback Controls how much of the pitchshifter's output is reapplied to its input.

LowNote

Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

Delay

Controls the crossfade between old pitchshift values and new pitchshift values.

Loop

Send

L InMix Controls what percentage of the loop's input comes from the right input ("0%") and what percentage comes from the pitchshifter output ("100%").

L Input Controls the input level to the loop.

L Level

Loop

Controls the output level of the loop.

OK?).

#Bars Controls the length of the loop in terms of bars. The actual loop time displayed under Loop is a function of this control and the current system tempo.

L Fback Controls how much of the loop's output is reapplied to its input.

Slap

D Level Controls the output level of the slap delay.

Delay

Either reflects the physical delay time as entered by T_Delay (given the current tempo) or allows you to enter the delay time in milliseconds if T_Delay is set to "Off".

T_Delay Controls the delay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

dual comp/de-ess

(157 VocalProcess)

Here we have dual compressors feeding filters which then feed further compressors. It is set up as compressors into de-essers, and has ‘master’ as well as individual parameters.

Stereo in, stereo out

Master

M_Comp

Thresh

S Knee

Sets the input threshold above which compression of the signal takes place and below which the signal is left alone.

Controls the width of the "soft knee". The soft knee is a region above the threshold over which the ratio transitions from 1:1 to the selected Ratio. It smoothes out the compression.

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Ratio

Gain

Attack

Decay

GR 1

GR 2

Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

Adjusts the output level to improve gain structure.

Controls how quickly the compressor "clamps down" on a signal after it exceeds the threshold.

Controls how quickly the compressor "lets go" of a signal once it falls below the threshold.

Displays how much gain reduction (compression) is taking place after delay 1.

Displays how much gain reduction (compression) is taking place after delay 2.

M_Filter

Freq

Type

Controls the center frequency of the filter used for frequency-conscious compression.

Controls the bandwidth of the filter.

Selects the type of filter used for frequency-conscious compression (this is usually set to "bandpass").

M_D/S C^These controls affect the frequency-conscious compressor

D Thresh Sets the input threshold above which frequency-conscious compression of the signal takes place and below which the signal is left alone.

D S Knee Controls the width of the "soft knee". The soft knee is a region above the threshold over which the ratio transitions from 1:1 to the selected Ratio. It smoothes out the compression.

D Ratio Controls the input to output ratio for signals above the threshold. For example, "6:1" produces 1dB of output for every 6dB of input.

D Gain Adjusts the output level to improve gain structure.

D Attack Controls how quickly the frequency-conscious compressor "clamps down" on a signal after it exceeds the threshold.

D Decay Controls how quickly the frequency-conscious compressor "lets go" of a signal once it falls below the threshold.

D/S 1 Displays how much frequency-conscious gain reduction (compression) is taking place after delay 1.

D/S 2 Displays how much frequency-conscious gain reduction (compression) is taking place after delay 2.

Chan#1

Parameters similar to those described above, dedicated to compressor 1; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

Chan#2

Parameters similar to those described above, dedicated to compressor 2; changes made here can be overwritten by those made under Master and vice versa (the most recently entered value "wins")

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delay_diffchorus

(182 TapDly+Diffchrus)

This is a three tap delay (left, right and feedback) and a stereo diffchorus.

Stereo in, stereo out.

Delay

Level

Controls the two delays output level.

T_Delay1 Controls delay1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation

"off".

Delay1

Delay2

Fb Dly

Fback

Send

Controls delay1’s delay time in ms values.

Controls the fb delay’s delay time in ms values.

Controls how much of the fb delays output is reapplied to the 3 delays inputs.

Adjusts the level at 'S' in the diagram. If you want to modulate the volume of the effect with MIDI, a volume Pedal, or some other external or internal source, this is a fantastic place to do it. You won't get zippering.

Diffusor

R Level Controls the diffusors output level.

Diffusion

A master feedback control for the diffusors, controlling their "fuzziness" or "distinctness.”

DSize

Controls the diffusor's "size" by scaling its delay times.

Rate

Span

Glide

Determines the "thickness" of the chorus effect.

Scales each delay's LFO rate, effectively serving as a master rate.

Scales each delay's pan setting, effectively controlling the image width.

Controls how quickly delay times arrive at new values when individual delay times are adjusted (either directly or via DSize).

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moddelays+verb8

(183 Chordlys+Verb8)

Four delays feed into an eight-line reverb. The tempo affects the delay times, sweep rate and reverb decay time (rdecay).

Stereo in, stereo out

M_Delays

Send

D Level Controls the dry delay output level (but does not affect the delay level sent to the reverb).

Dly>Verb Controls the delay level sent to the reverb (but does not affect the dry delay output level).

m_Delay

Scales all the individual delay times, effectively serving as a master delay (e.g. if the four delays are set to

200ms, 150ms, 100ms, and 50ms, setting M_Delay to 50% cuts those times in half (100ms, 75ms, 50ms, and

25ms)).

m_Depth

Scales all the individual delay sweep depths, effectively serving as a master depth.

m_Fback

Scales all the individual delay feedbacks, effectively serving as a master feedback.

Delays^(x = 1, 2, 3, 4)

Delay x

Either reflects the physical delay time as entered by T_Delayx (given the current tempo) or allows you to enter the delay time in milliseconds .

T_Delay x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Fback x

Controls how much of delay x's output is reapplied to its input.

Mods^(x = 1, 2, 3, 4)

Depth x

Controls the sweep depth of delay x.

Rate

Controls the sweep rate if T_Rate is set to "off" or reflects the physical sweep rate as selected by T_Rate and the system tempo.

T_Rate

Shape

Controls the sweep rate in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic sweep generation "off".

The actual sweep rate displayed under Rate is a function of this control and the current system tempo.

Determines the shape of the modulating signal.

Retrig

Angle

Whenever the sweep rate is changed (either manually or by updating the tempo), the new rate is crossfaded with the old rate. The value of Retrig controls how long the crossfade is as a percentage of the old rate. Thus, a value of 100% means that the crossfade will be complete in one cycle of the old rate.

Verb

R Level Controls the reverb output level.

RDecay

Either reflects the physical reverb decay as entered by T_RDecay (given the current tempo) or allows you to enter the reverb decay in seconds if T_RDecay is set to "Off".

T_RDecay Controls the reverb decay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic decay generation

"off".

RSize

PreDly

Controls the reverb's room size by scaling the actual delay times.

HiCut

Controls the cut of a high-frequency shelving EQ.

LowCut

Controls the cut of a low-frequency shelving EQ.

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HiFreq

Controls the frequency at which the high-frequency shelving EQ begins to act.

LowFreq

Controls the frequency at which the low-frequency shelving EQ begins to act.

Depth

Controls how much individual delay times will vary in response to the LFO controlled by Rate. Determines the

"thickness" of the chorus effect.

Rate

Span

Glide

Scales each delay's LFO rate, effectively serving as a master rate.

Scales each delay's pan setting, effectively controlling the image width.

Controls how quickly delay times arrive at new values when individual delay times are adjusted (either directly or via RSize).

multishift+verb8

(184 Mshift+Reverb8)

In this combination effect, a two-voice shifter feeds a reverb, with mixers at the reverb input and the final outputs. Tempo controls delay times and reverb decay times.

Stereo in, stereo out

Masters

Send

Controls the dry pitchshifter output level (but does not affect the pitchshifter level sent to the reverb). S Level

Mix>Verb Controls the pitchshifter level sent to the reverb (but does not affect the dry pitchshifter output level).

S HiCut Controls the cutoff frequency of a lowpass filter placed after the pitchshifter.

Cal

LowNote Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

XFade Controls the crossfade between old pitchshift values and new pitchshift values.

Shift^(x = 1, 2)

Pitch x

Delay x

Controls the amount of pitchshift effect for pitchshifter x.

Either reflects the physical delay time as entered by T_Delayx (given the current tempo) or allows you to enter the delay time in milliseconds .

T_Delay x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Fback x

Controls how much of pitch shifter x's output is reapplied to its input.

Mod x

Controls the amount of pitch modulation for a vibrato effect.

Man_Mod x Allows users without an external pedal to modulate the effect from the front panel.

Verb

R Level Controls the reverb output level.

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RDecay

Either reflects the physical reverb decay as entered by T_RDecay (given the current tempo) or allows you to enter the reverb decay in seconds if T_RDecay is set to "Off".

T_RDecay Controls the reverb decay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic decay generation

"off".

RSize

PreDly

HiCut

Controls the reverb's room size by scaling the actual delay times.

Controls the cut of a high-frequency shelving EQ.

LowCut

Controls the cut of a low-frequency shelving EQ.

HiFreq

Controls the frequency at which the high-frequency shelving EQ begins to act.

LowFreq

Controls the frequency at which the low-frequency shelving EQ begins to act.

Depth

Controls how much individual delay times will vary in response to the LFO controlled by Rate. Determines the

"thickness" of the chorus effect.

Rate

Span

Glide

Scales each delay's LFO rate, effectively serving as a master rate.

Scales each delay's pan setting, effectively controlling the image width.

Controls how quickly delay times arrive at new values when individual delay times are adjusted (either directly or via RSize).

diatonic+verb8

(185 Dshift+Reverb8)

This algorithm is similar to “multishift+verb8,” differing in that a two-voice diatonic shifter replaces the normal shifter.

Stereo in, stereo out

See “multishift+verb8” above for diagram.

Masters

Send

S Level

Controls the dry pitchshifter output level (but does not affect the pitchshifter level sent to the reverb).

Mix>Verb Controls the pitchshifter level sent to the reverb (but does not affect the dry pitchshifter output level).

Cal

Tune

Key

Scale

Quant

Controls the detector's calibration, allowing for deviation from A-440 tuning.

Selects the key that the detector references (if a scale is in fact selected under Scale).

Selects the scale that the detector references.

Determines the level of "quantization", or how close the Eclipse will bring an "off" note to

"perfection".

LowNote Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

XFade Controls the crossfade between old pitchshift values and new pitchshift values.

Glide Controls how quickly the shifter slides between shift values.

Shift^(x = 1, 2)

Pitch x

Delay x

Controls the amount of pitchshift effect for pitchshifter x.

Either reflects the physical delay time as entered by T_Delayx (given the current tempo) or allows you to enter the delay time in milliseconds .

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T_Delay x Controls delay x in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Mod x

Controls the amount of pitch modulation for a vibrato effect.

Man_Mod x Allows users without an external pedal to modulate the effect from the front panel.

Verb

R Level Controls the reverb output level.

RDecay

Either reflects the physical reverb decay as entered by T_RDecay (given the current tempo) or allows you to enter the reverb decay in seconds if T_RDecay is set to "Off".

T_RDecay Controls the reverb decay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic decay generation

"off".

RSize

Controls the reverb's room size by scaling the actual delay times.

PreDly

HiCut

Controls the cut of a high-frequency shelving EQ.

LowCut

Controls the cut of a low-frequency shelving EQ.

HiFreq

Controls the frequency at which the high-frequency shelving EQ begins to act.

LowFreq

Controls the frequency at which the low-frequency shelving EQ begins to act.

Depth

Controls how much individual delay times will vary in response to the LFO controlled by Rate. Determines the

"thickness" of the chorus effect.

Rate

Span

Glide

Scales each delay's LFO rate, effectively serving as a master rate.

Scales each delay's pan setting, effectively controlling the image width.

Controls how quickly delay times arrive at new values when individual delay times are adjusted (either directly or via RSize).

stereoshift+verb8

(186 Stshift+Reverb8)

This algorithm is similar to “multishift+verb8,” differing in that the shifter is a single voice true stereo unit.

Stereo in, stereo out

Pitch

Send

S Level Controls the dry pitchshifter output level (but does not affect the pitchshifter level sent to the reverb).

Mix>Verb Controls the pitchshifter level sent to the reverb (but does not affect the dry pitchshifter output level).

Pitch

Controls the amount of pitchshift effect.

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Delay

Fback

Controls the pitchshifter delay time.

Controls how much of the pitchshifter's output is reapplied to its input.

LowNote

Determines the lowest note the pitchshifter will correctly shift. Set as high as possible for best results.

XFade

Controls the crossfade between old pitchshift values and new pitchshift values.

Verb

R Level

RSize

PreDly

HiCut

Controls the reverb output level.

RDecay

Either reflects the physical reverb decay as entered by T_RDecay (given the current tempo) or allows you to enter the reverb decay in seconds if T_RDecay is set to "Off".

T_RDecay Controls the reverb decay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic decay generation

"off".

Controls the reverb's room size by scaling the actual delay times.

Controls the cut of a high-frequency shelving EQ.

LowCut

Controls the cut of a low-frequency shelving EQ.

HiFreq

Controls the frequency at which the high-frequency shelving EQ begins to act.

LowFreq

Controls the frequency at which the low-frequency shelving EQ begins to act.

Depth

Controls how much individual delay times will vary in response to the LFO controlled by Rate. Determines the

"thickness" of the chorus effect.

Rate

Span

Glide

Scales each delay's LFO rate, effectively serving as a master rate.

Scales each delay's pan setting, effectively controlling the image width.

Controls how quickly delay times arrive at new values when individual delay times are adjusted (either directly or via RSize).

rev_taps_verb

(187 R+Dly+Reverb)

This is a reverseshifter into a three tap delay (left right and feedback) and a reverb 8.

Summed in, stereo out

Reverse

Send

Mix

Controls the reverse/dry ratio

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Controls the amount of pitchshifting.

Pitch

T_Length Controls the pitchshifter splice length in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Length

Controls the shifters splice length in ms values.

T_Delay Controls the pitchshifter delay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation

Delay

"off".

Controls the shifters delay in ms values.

Delay

Level

Controls the two delays output level.

T_Delay1 Controls delay1 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

T_Delay2 Controls delay2 in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

T_Fback Controls the fb delay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic delay generation "off".

Delay1

Controls delay1’s delay time in ms values.

Fb Dly

Fback

Controls the fb delay’s delay time in ms values.

Controls how much of the fb delays output is reapplied to the 3 delays inputs.

Reverb

R Level

Controls the reverb output level.

RDecay

Either reflects the physical reverb decay as entered by T_RDecay (given the current tempo) or allows you to enter the reverb decay in seconds if T_RDecay is set to "Off".

T_RDecay Controls the reverb decay in rhythmic terms (1/4 note, 1/8th note, etc.) or turns rhythmic decay generation

"off".

RSize

Controls the reverb's room size by scaling the actual delay times.

PreDly

HiCut

Controls the cut of a high-frequency shelving EQ.

LowCut

Controls the cut of a low-frequency shelving EQ.

HiFreq

Controls the frequency at which the high-frequency shelving EQ begins to act.

LowFreq

Controls the frequency at which the low-frequency shelving EQ begins to act.

Depth

Controls how much individual delay times will vary in response to the LFO controlled by Rate. Determines the

Rate

Span

Glide

"thickness" of the chorus effect.

Scales each delay's LFO rate, effectively serving as a master rate.

Scales each delay's pan setting, effectively controlling the image width.

Controls how quickly delay times arrive at new values when individual delay times are adjusted (either directly or via RSize).

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utilities

mute

(100 Mute_Series, 101 Mute_Xfade)

This is a ‘do-nothing’ algorithm with no internal connections. Its purpose is to fill the second engine of a single algorithm parallel preset.

Stereo in, nothing out

thru

(102 Thru_Series, 103 Thru_Xfade)

As the name suggests, the inputs are passed through to the outputs. This is can be useful for troubleshooting and testing, or to fill the second engine of a single algorithm series preset.

Stereo in, stereo out

dither

(190 Dither)

A simple dithering algorithm that can be used to reduce the number of output bits to 16, 18 or 20 without adding distortion. The user can choose between rectangular (uniform) or triangular distribution.

Stereo in, stereo out

Operate

Bits

Type

Controls the number of output bits. Match this to the bit depth of the device connected to the Eclipse's digital output.

Selects triangle or rectangle dither noise. Stick with triangle unless you know that your audio has already been processed with rectangular dither.

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oscillator (440)

(191 OSC440)

A general purpose sweepable and modulatable oscillator. The default configuration gives a constant

(A)440 Hz tone.

Nothing in, summed out

Osc

Level

Freq

FMod

Shape

Controls the oscillator output level.

Controls the frequency of the oscillator.

Controls how much the frequency modulator (FM) will affect the oscillator.

Selects the waveform of the oscillator.

Duty

Controls the "duty cycle" of the oscillator for any Shape other than "sine". For example, if you have selected

"triangle" under Shape and set Duty to "0%", the triangle will morph to a sawtooth (very fast rise, slow fall).

With Duty at "100%", the triangle will morph to a ramp (slow rise, very fast fall).

FM Rate Controls the rate of the frequency modulator (set it to some multiple of the oscillator's frequency to create interesting timbres).

FM Shape Selects the waveform of the frequency modulator.

FM Duty Controls the frequency modulator's duty cycle.

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chromatic tuner

(192 Tuner)

This useful chromatic tuner has sharp/flat metering as well as a display of error amount. It displays pitch (from middle C) and the true frequency. The inputs are passed through unprocessed to the outputs.

Stereo in, stereo out

Detector

-|+

Note

OutBy

Pitch

Freq

Cal

Displays how far from in tune the input is.

Displays the closest note to that being supplied at the input.

Displays how far from in tune the input is (in cents).

Displays how far the input is from middle C.

Displays the root frequency of the input.

Calibrates the tuner for music that doesn't conform to A-440.

Cal^(Calibrates the detector for optimal results)

LowNote

Determines the lowest note the detector will correctly identify. Set as high as possible for best results.

HighNote

Determines the highest note the detector will correctly identify. Set as low as possible for best results.

Pitch

Displays how far the input is from middle C.

Freq

Displays the root frequency of the input.

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TimeFactor™ Algorithms

These are large and sophisticated algorithms which can have a noticeable loading time. An expression

pedal or other modulation source connected to External 3 is pre-wired to many of the parameters.

Knobs common to all TimeFactor algorithms

Dly Mix (Delay Mix) controls the relative level of the twin delays, Delay A and Delay B. TimeFactor has circuitry that detects which input/output jacks are being used and adjusts the routing of signals through the Effects algorithm accordingly.

Dly Mix’s mixing behavior depends on whether you’re using mono or stereo outputs. You only need to read the section that corresponds to your setup.

With Dly Mix set to 0%, BOTH outputs will have only Delay A’s contribution. When set to 50%, Delay A goes to Output 1 only and Delay B goes to Output 2 only. When set to 100%, BOTH outputs will have only Delay B’s contribution.

Dly Time A

Dly Time B With Tempo OFF, these controls set delay time for Delay A and Delay B from 0 to 3000 ms (milliseconds). With

Tempo ON, delay time can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value - changing this from 0 delay to a whole note in common note increments.

Fdbk A

Fdbk B These controls set Delay A’s and Delay B’s feedback amount from 0 to 100% which, in turn, controls the number of repeats. Note: For FilterPong, Fdbk B is used to control the diffusion (SLUR) of the repeats.

Tempo if tempo is ON, delay times are expressed as beats, otherwise they are in mS.

The action of the following Knobs - Xnob, Depth, Speed and Filter - are Algorithm dependent as described below.

TF Digital Delay

(900 TF 1:1 DigDly)

Twin 3 second delays with independent delay time and feedback controls.

Stereo in, stereo out

Xnob/Crossfade When delays change, TimeFactor performs a crossfade function to prevent abrupt changes that could result in glitching or clicking. Xnob sets the speed of the crossfade. Small values result in fast crossfades, larger values more gradual crossfades. Xnob sets the crossfade rate (XFADE) from 2 ms to 200 ms.

Depth

Speed

Filter

Selects the amount of delay modulation (0=OFF, 10=MAX).

Sets the delay modulation rate (0-5Hz).

A low pass/high cut filter variable from 0 (no filtering) to 100 (extreme hi cut) to change the tone of your delay repeats.

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TF Vintage Delay

Simulates the sound of analog and digital delays from days gone by.

Stereo in, stereo out

Xnob/Bits Selects the number of bits of resolution. Early digital delays used analog to digital converters with limited resolution. Theory predicts that each bit equals 6 dB of resolution; so that an 8 bit converter would deliver, at best, a mere 48 dB of dynamic range. VintageDelay simulates the effects of limited resolution - the sound of nasty digital noise from years gone by.

Depth

Speed

Filter

Selects the amount of delay modulation (0=OFF, 10=MAX).

Sets the delay modulation rate.

Controls the filter to simulate the tone of band-limited old school delays.

TF Tape Echo

Simulates the hiss, wow and flutter of analog tape delay.

Stereo in, stereo out

Xnob/Hiss Simulates analog tape hiss. Ranges from ‘0’ (none) to ‘10’ (max). Tape recorders can be noisy. The dirtier the magnetic heads, the cheaper the electronics, and the crappier (or older) the tape, the hissier the sound.

Depth/Wow Simulates analog tape Wow. Wow is a term used to describe relatively slowly changing pitch and amplitude modulations caused by problems with the motor or tape transport that causes the tape’s motion across the head to vary. A well maintained tape recorder should have no audible Wow. Ranges from ‘0’ (none) to ‘10’ (max).

Speed/Flutter Simulates tape machine Flutter. Like Wow, Flutter is caused when the tape motion across the magnetic heads isn’t constant. Flutter is a more rapidly changing variation than Wow. Ranges from 0 (no flutter) to 10

(max flutter).

Filter Controls the filter characteristics to simulate tape recorder frequency response. As you increase the filter value, you’ll hear a more pronounced tape tone.

TF Mod Delay

Modulated delays – great for creating chorus effects and chorused delays.

Stereo in, stereo out

Xnob/Wave Shape Selects the modulation wave shape as displayed by the Billboard display. There are two choices for each wave shape. The single waveforms modulate the two delays in phase and the double waveforms modulate the two delays out of phase.

Depth

Speed

Filter

Selects the amount of delay modulation (0=OFF, 10=MAX).

Sets the delay modulation rate (0-5Hz).

A low pass/high cut filter variable from 0 (no filtering) to 100 (extreme hi cut).

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TF Ducked Delay

(906 TF 4:1 DuckDly)

The delay levels are dynamically lowered while you’re playing and restored to their normal levels when you stop playing.

Stereo in, stereo out

Xnob/Ratio Sets the ducking ratio or the degree to which the delay is attenuated.

Depth/Threshold Sets the ducking threshold - the audio amplitude - at which ducking kicks in (-36 dB to -66 dB).

Speed/ReleaseTime Sets the release time from 500 to 10 msec. With the release time set to short values, the delay will kick in quickly when you stop playing. With the release time set to longer values, the delay will stay ducked for a while. Longer release times are useful when you’re playing a riff and don’t want the delay to kick in between notes.

Filter A low pass/high cut filter variable from 0 (no filtering) to 100 (extreme hi cut).

TF Band Delay

(904 TF 3:1 BandDly )

Delays are followed by user selectable modulated filters.

Stereo in, stereo out

Xnob/Resonance Sets the resonance (“RES”) or sharpness of the filter. RES varies from 0 (subtle effects) to 10 (dramatic resonance effects).

Depth

Speed

Sets the amount that the filter cut-off or center frequencies are modulated/shifted.

Sets the rate of modulation for the filter center frequencies (0-5Hz).

Filter Select filter type – Low Pass, Band Pass or Hi Pass

TF Filter Pong

The dual delays ping pong between the outputs with filter effects added for good measure.

Stereo in, stereo out

Xnob/Wave Shape Selects the ‘shape’ of the filter modulation as displayed by the Billboard.

Depth Sets the filters’ amount of frequency modulation.

Speed

Filter

Fdbk B

Speed multiplier for filter modulation.

Controls the mix between the dry and filtered signal input to the ping-pong delay.

The FilterPong Effect is created by cross connecting the feedback paths of the twin delays. As a result, only a single feedback control is needed - Fdbk A. Fdbk B is used to control the diffusion (SLUR) of the repeats. With low diffusion the repeats are discrete. Increasing diffusion slurs the repeats.

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TF Multitap Delay

10 delay taps with controls for delay time, diffusion, tap levels and tap spacing.

Note that it is not possible to re-create the factory presets using this algorithm – better to tweak the existing ones.

Mono in, mono out

Xnob/Slur Selects the amount of diffusion (SLUR) from ‘0’ (none) to ‘10’ (max).

Depth/Delay Tap Taper Sets the relative level (taper) of the taps. With TAPR = -10, the 1 st tap is the quietest and the last tap loudest. With TAPR = 0, all taps are equally loud. With TAPR = 10, the 1 st tap is loudest and the last tap quietest.

Speed/Delay Tap Spacing Sets the spacing between taps from 0 (spacing increases with increasing delay) to 5 (taps are equally spaced) to 10 (spacing between taps decreases with increasing delay).

Filter A tone control filter that reduces high frequencies to darken the ambient sounds that you create.

TF Reverse Delay

Reverse audio effects.

Stereo in, stereo out

Xnob/Crossfade In Reverse, the audio segments are read backwards and must be spliced. TimeFactor performs a crossfade at the splice point to prevent abrupt changes that could result in glitching or clicking. Xnob sets the rate of the crossfade. Small values result in fast crossfades and a more audible rhythm for the reverse effect, larger values more gradual crossfades and a smoother reverse sound. Xnob sets the crossfade rate (XFADE) from 2 ms to

200 ms.

Depth

Speed

Filter

Selects the amount of modulation (0=OFF, 10=MAX).

Sets the delay modulation rate (0-5Hz).

A low pass/high cut filter variable from 0 (no filtering) to 100 (extreme hi cut).

TF Looper

48 second Looper with Dubbing and speed control.

Mono in, mono out

The Looper can be in one of the following states: Empty, Recording, Playing, Dubbing, Stopped.

Empty

When the Looper is first loaded, the loop is Empty, the display shows [EMPTY] and the Record knob may be used to start

Recording. If autoplay mode is selected [AP:LOOP], loop playback will start when recording reaches the loop end.

Recording

While recording, the display shows running record time [R>00.00] or beat count [R>(beats)]. During recording some knobs have new functions:

Record Press to create Loop End and start Dubbing. The Dub Mode setting determines if the new audio is added to or replaces the previously recorded audio.



Play

Stop

Press to create Loop End and start Playing from Loop Start. The Play Mode setting determines if the Loop is played once or continuously.

End recording and stop.

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Dubbing

If Record is pressed while recording, Dubbing begins and the display shows running time [D>00.00] or beat count

[D>(beats)]. While Dubbing, some knobs have new functions:

Record Stop/Start Dubbing while Playing continues. The Dub Mode setting determines how the Loop is overdubbed.

Play End Dubbing and Start Playing from Loop Start. The Play Mode setting determines if the Loop is played once or continuously.

Stop End Dubbing and Stop Playing.

Playing

If Play is pressed while Stopped, Playing begins and the display shows running play time [P>00.00] or beat count

[P>(beats)]. During playback some knobs have new functions:

Record

Play

Start Dubbing at the current Loop time. The Dub Mode setting determines if the new audio is added to or replaces the previously recorded audio.

Start Playing from Loop Start. The Play Mode setting determines if the Loop is played once or continuously.

Stop

Stop Playing.

Stopped

If Stop is pressed while Playing, Recording or Dubbing, the Loop stops, the display shows [STOPPED] and the knobs have the following functions:

Record

Clear Loop and begin recording. If autoplay mode is selected, [AP:LOOP], loop playback will start when recording reaches the loop end.

Play

Stop

Start Playing from Loop Start. The Play Mode setting determines if the Loop is played once or continuously.

No action.

Looper Control Knobs

Begin

Length

Sets the Loop Start Point from 0 ms to Loop Length. The Loop Start Point is automatically set to 0 at the beginning of a new loop. When the Loop is Empty, this parameter is disabled.

When the Loop is Empty, sets the Loop Length. Note that audio recording quality is degraded at slower recording speeds (1/2X and 1/4X). The maximum loop length is determined by the setting of the Speed parameter as follows:

Speed

Max Loop Length

20 sec

40 sec

1/2X

80 sec

1/4X

160 sec

Decay

When a Loop is in memory, Length sets the Loop Length that is played starting with the Begin Point. In other words, if a 12 second Loop is recorded and Begin is set to 2 seconds and Length is set to 4 seconds, the recorded Loop will play from 2 seconds to 6 seconds into the 12 second Loop.

Length is automatically set to Loop Length at the beginning of new loop.

When dubbing you may want the original saved audio to persist as you add new sounds. Of course, indefinitely adding new signals will eventually result in ‘mud’ (the “Crayola” effect). The Decay control allows the saved audio to fade as you dub new material. The Decay Rate is adjustable from 0% [DCY: 0] to 100% [DCY:100].

When set to 0%, the loop never decays. When set to 100% the previously saved audio decays completely each time through the loop when dubbing. In other words, the looped audio is only played once. This control has no affect on normal Playback, only on dubbing.

DubMode There are four choices that determine the type of dubbing (Add or Replace) and the action of the Footswitch control (Latch or Punch).

To Dub, press the Record knob while the loop is playing or recording. The action of the Record knob when dubbing depends on the setting of the DubMode control.

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If you want to simply press and release the switch to Dub, set this control to one of the two Latching modes.

Dubbing will continue until you press Stop (or press record again to turn dubbing off).

On the other hand, you may prefer to Dub only while you’re pressing and holding the Record knob. To do this, choose one of the two Punch modes.

The Dubbing Mode choices are:

[D::LATCH] – Record toggles Dubbing ON/OFF. Dubbed audio is added to the looped audio.

[D::PUNCH] – Record enables Dubbing while the footswitch is held. Dubbed audio is added to the looped audio.

[D::REPL-L] – Record toggles Dubbing ON/OFF. Dubbed audio replaces looped audio.

[D::REPL-P] – Record enables Dubbing while the footswitch is held. Dubbed audio replaces looped audio.

PlyMode This knob is used to select the Playback Mode:

[P::ONCE] – Play initiates playing the loop one time from the loop’s start point.

[P::LOOP] – Play initiates playing the loop continuously from the loop’s start point.

[AP::LOOP] – When recording ends, loop begins playing automatically and plays continuously.

SpdQuan This control selects Play Speed resolution. When set to [SMOOTH], resolution is 1%. The other Depth control settings allow you to select the Play Speed in musical intervals as follows:

Speed

[OCTAVES] – From two octaves down to one octave up - 25%, 50%, 100%, 200%

[OCT+5TH] – Octaves and fifths - 25%, 37%, 50%, 75%, 100%, 150%, 200%

[DOM7TH] – Dominant 7th Chord (root, M3rd, 5th, m7th, representing common key modulations) - 25%, 32%,

37%, 45%, 50%, 63%, 75%, 89%, 100%, 126%, 150%, 178%, 200%

[CHROMATIC] – Semi tones - 25%, 26%, 28%, 30%, 32%, 33%, 35%,37%,40%, 42%, 45%, 47%, 50%, 53%,

56%, 59%, 63%, 67%, 71%, 75%, 79%, 84%, 89%, 94%, 100%, 106%, 112%, 119%, 126%, 133%, 140%,

150%, 159%, 168%, 178%, 189%, 200%

When the Loop is Empty, the Speed control lets you select the record speed. The choices are:

Filter

[SPD:2X] – Double speed. At this record speed, the maximum loop length is 20 seconds.

[SPD:1X] – Normal speed. At this record speed, the maximum loop length is 40 seconds.

[SPD:1/2] – Half speed. At this record speed, the maximum loop length is 80 seconds.

[SPD:1/4] – Quarter speed. At this record speed, the maximum loop length is 160 seconds.

After a loop is recorded, Speed controls the speed of Loop playback over a three octave range from two octaves down (25%) to one octave up (200%). Speed resolution is dependent on the setting of the Depth control.

Controls the tone of the looped audio. Tone control filters are placed at both the input and output of the Looper.

This allows you to control the tone of the audio that you’re recording and then independently control the tone on playback. Turning to the left cuts low frequencies and turning to the right cuts high frequencies. For flat response, set the knob to 12 o’clock.

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ModFactor™ Algorithms

These are large and sophisticated algorithms which can have a noticeable loading time. An expression

pedal or other modulation source connected as External 3 is pre-wired to many of the parameters. In

some cases, where an expression pedal is specified as a direct modulation input, it may be connected as

External 4.

ModFactor uses 2 LFOs (Low Frequency Oscillators) to create classic or FM/AM modulated versions of many popular modulation effects. The primary LFO drives the main effect and is controlled by three controls, Depth,

Speed and Shape.

These knobs control the primary parameters of the effects. Two other knobs control important aspects of the effects. Intensity, ranges from subtle to dramatic. Type selects the type of effect – i.e. the “type” of Flanger,

“type” of Phaser, etc.

Other knobs (S-Mod, D-Mod, ModRate and ModSource) control the secondary LFO which in turn modulates the

Speed and Depth of the primary LFO. The S-Mod knob controls the amount of Frequency Modulation applied to the primary LFO and the D-Mod knob controls the amount of Amplitude Modulation.

With S-Mod/D-Mod knobs set fully counterclockwise, the secondary modulation is disabled and ModFactor creates high quality renditions of classic modulation effects. As the S-Mod/DMod knobs are turned up a small amount of movement will be added to the effect to give it a controlled organic feel. Increase the amount of S-

Mod/D-Mod for complex and interesting and even extreme modulation effects.

The availability of expression pedal and envelope mod shapes allows the modulation rate to be controlled dynamically by your playing as well.

Because Intensity controls the wet/dry mix as well as its other functions, these algorithms will usually be used with the main wet/dry control set to 100% wet.

Intensity Controls the intensity of the effect from 0 to 99%. For TremoloPan type Bias, Intensity controls the amount of

Drive. For high input levels, setting Drive to high levels can cause overload distortion. For TremoloPan type

Opto, Intensity controls input slew rate (Edge) and, depending on the input signal, may only have a subtle effect.

Type Selects the type of effect. For example, ModFactor has 4 distinct types of Phasers – Negative, Positive,

Feedback and Biphase.

EFFECT TYPE

CHORUS LIQUID ORGANIC SHIMMER

MODFILTER LOPASS

TREMOLOPAN BIAS OPTO

Depth

Speed

UNDULATOR PITCH

RINGMOD DC

FEEDBCK

Sets the modulation sweep range from narrow to wide.

Sets the modulation sweep rate. If Envelope or ADSR is selected for the Shape parameter, the modulation is driven by the amplitude of the audio input and the Speed control becomes a Sensitivity control. If Slow Mode is enabled, an “S” prefix is added to the Speed Parameter value.

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Shape

Xnob

Selects the shape (or source) of the modulation. The choices are: SINE, TRIANGL(E), PEAK, RANDOM,

SQUARE, RAMP, SQUARE, SMP/HLD, ENVELOP or ADSR. In addition, an Expression Pedal (EXP PDL) can

be chosen as a source, using External 4.

The Xnob control is effect type dependent and works as follows:

EFFECT - TYPE

CHORUS – LIQUID

CHORUS – ORGANIC

CHORUS – SHIMMER

XNOB Function

Feedback

Manual Delay Offset [MDO]

Feedback

PHASER – BIPHASE Forward/Reverse

FLANGER Manual Delay Offset [MDO]

MODFILTER Width

ROTARY Tone

TREMELOPAN Width

VIBRATO – MODERN/VINTAGE

VIBRATO – RETRO

UNDULATOR – PITCH

UNDULATOR – FEEDBCK

Width

Filter Stages

Spread

Feedback

RINGMOD Tone

Modulating the Modulation

D-Mod Controls the amount of modulation of the Depth parameter. Analogous to AM (Amplitude Modulation). Full counter-clockwise is OFF.

S-Mod Controls the amount of modulation of the Speed parameter. Analogous to FM (Frequency Modulation). Full counter-clockwise is OFF.

Mod Rate Sets the secondary LFO rate – determines how fast the D-Mod and S-Mod “wiggle” their targets. Ranges from

1/8 to 8X the Speed value. If Envelope or ADSR is selected as the Mod Source, the modulation is driven by the amplitude of the audio input and the S-Mod control becomes a Sensitivity control.

Mod Source Selects the secondary LFO modulation source. The choices are: SINE, TRIANGL(E), PEAK, RANDOM, RAMP,

SQUARE, SMP/HLD, ENVELOP or ADSR. In addition, the Expression Pedal (EXP PDL) can be chosen as a

source, using External 4.

Modulating the Modulation of the Modulation

Just kidding ….

MF Chorus

(921 MF 1:1 Chorus)

Chorus is an effect that is designed to take a single voiced instrument and give it the sound of many instruments playing together. This is achieved through randomly modulating several delay lines to create pitch and timing imperfections and then panning these voices in the stereo field.

Stereo in, stereo out

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MF Phaser

(923 MF 2:1 Phaser)

Phasing is an effect created by a series of digital filters. When the output of the filters is mixed with the dry signal sharp notches are created in the frequency spectrum of the output; by modulating the center frequencies of the filters the notches move giving a sense of motion to the effect.

Stereo in, stereo out

MF qWah

The Q-Wah effect simulates a classic wah wah pedal when Shape is set to pedal or an auto wah when set to envelope. Using Depth and/or other wave shapes creates more complex wah sounds. Intensity will increase the Q or “Slinky-ness” of the wah effect.

Stereo in, stereo out

MF Flanger

(927 MF 4:1 Flanger)

Flanger is similar to Phaser, however the use of delay lines in place of filters creates notches that are harmonically related to each other.

Stereo in, stereo out

MF Mod Filter

(929 MF 5:1 ModFilter)

ModFilter is a set of modulated filters. Intensity controls a combination of base filter frequency and Q, while Depth controls the frequency offset of the left and right channels to create a stereo image.

Stereo in, stereo out

MF Rotary

(931 MF 6:1 Rotary)

Simulates the sound of a rotating speaker for that popular Leslie effect. ModFactor offers two types of rotary simulations – a standard-sized and an over-sized (“giant”) cabinet.

Stereo in, stereo out

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MF Tremolo Pan

(933 MF 7:1 TremoloPan)

Tremolo is an effect that is created by modulating the level of the incoming audio with an LFO. With this effect, as you turn Xnob, it will shift the phase of the right channel’s LFO creating a tremolo that will move from left to right in the stereo field. When the Xnob is full clockwise, the right channel will be 180 degrees out of phase with the left creating an autopanner. Both outputs will have to be connected for this to function correctly.

Stereo in, stereo out

MF Vibrato

(935 MF 8:1 Vibrato)

Vibrato is an effect that simulates the pitch change you get by modulating a guitar string or using a whammy bar. Modulating the rate with an Expression Pedal or envelope will create some insane vibratos.

Stereo in, stereo out

MF Undulator

Undulator is a classic Eventide effect that combines two delays, two detuned voices, and a FM modulated tremolo. By turning up the Intensity you can increase the dry/effect ratio.

Stereo in, stereo out

MF Ring Modulator

(939 MF 10:1 RingMod)

Ring Modulation is an effect created by multiplying an input signal by another waveform - the result is a waveform containing the sums and differences of the initial frequencies and their partials. This creates a waveform with complex (and possibly inharmonic) bell-like overtones.

By using the S-Mod control to modulate this carrier frequency you can create useful and interesting sounds. By engaging the Sync to Tempo/Pitch feature, the LFO rate control displays note values instead of Hz, by selecting the tonic of your scale or something similar you can ensure that the output of this process will be harmonically related to the notes you play. The Depth parameter slightly detunes the right and left voices creating a stereo field.

Note that the Mod Rate knob controls Sensitivity for this effect.

Stereo in, stereo out

Manual Version 4.01 Page 99 of 99

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