Eventide H3000 Series User manual

Eventide H3000 Series User manual
 H3000
Ultra-Harmonizer®
INSTRUCTION MANUAL
FIRST PRINTING: March 1992
H3000, H3000-S, H3000-SE, H3000-B, 3000-D/SX, H3000-D/SE, H3000-B/LT, H3000-B+, H3500-dfx, H3500-dfx/e MODELS COMBINED
IN ONE MANUAL - January 1996
© 1989 - 1996 Eventide Inc., Little Ferry NJ USA
Harmonizer is a registered trademark of Eventide Inc. for its audio pitch shifter special effects devices.
WARNINGS
FAILURE TO HEED THESE WARNINGS could result in an electrical shock
hazard.
Be certain that the Voltage Select Switch on the rear of the H3000 is in the correct
position. The choices are 115 or 220 volts.
Always use a properly grounded, three-prong AC outlet.
Always use a 3-wire line cord like the one supplied with the H3000.
Dont expose the H3000 to rain or moisture of any kind.
Always replace the fuse with the value specified (see rear panel).
Dangerous Voltages are present inside the unit. Use extreme caution when
operating the unit with its covers removed.
CAUTIONS
FAILURE TO HEED THESE CAUTIONS could result in reduced service life or damage to
your equipment.
Heat 1s the enemy of reliability. Don't block top or bottom ventilation slots. Leave some
clearance above and below the H3000 in your rack.
For Road Use we recommend that you don't solely rely on the front support screws when
rack-mounting. Support the back of the box as well.
Table of Contents
The H3000 Family of Products .............. LL A a LA LA
The Front Panel and Controls ....... LA LL LE
Changing Input Levels... aa aaaredaaer a aarareri.
H3000 Specifications ......... eee A ae LL A Ad AAA A AAA AA raaarario
Running the H3000 1.111200 aaa nrooser e
Softkeys and Menus 7
Setting the Display Contrast 7
Setting the Levels 7
The Bypass Control 8
Loading a Program 8
Editing a Program 8
Soft Functions 9
Expert Mode 9
Levels Mode 9
Saving an Edit 10
Removing User Programs 11
Miscellaneous 11
Parameter Modulation... AA LA AA NA AA IRAN rr
Patching Parameters for Modulation 12
Patching to Trigger Parameters 13
Soft Functions 13
The Function Generator 14
Modulation Control 16
introduction to MIDI ©... eanararenere rar
What 1s MIDI? 17
MIDI and the Ultra-Harmonizer 17
How to Hook up MIDI 18
Using MIDI oo aaa AA
MIDI Receive Enable 19
MIDI Channel and Omni Mode 19
MIDI Program Change 19
Program Change Bank Select 20
Setting up the Program Change Map 20
Sequencing with MIDI 20
Enables for Sequencing 21
The Effect of Sequencing on MIDI! Program Change 21
MIDI Data Dumping 21
A Final Word... 23
Appendix A ~ Parameter Modulation... aaa aaron ear, 24
Appendix B - Expert MIDI ai aaaeoaaa aora. 29
Appendix € - MIDI Sequencing Details ......... a Aaaanerdio,, 31
MIDI Parameter Numbers 31
MIDI Program Change 32
Algorithm 113
Algorithm 114
Timesqueeze 81
Dense Room 85
Algorithm 115 - Vocoder 87
Algorithm 116 - Multi-Shift 89
Algorithm 117 - Band Delay 92
Algorithm 118 - String Modeller 95
Algorithm 119 - Phaser 99
Algorithm 120
Algorithm 122
Studio Sampler 102
mod factoryjone 108
MIDI Volume 33
Appendix D - MIDI Implementation Chart ....... RR A La a AAA LL 34
Appendix E - MIDI Dump Requests ........... a aaeaaereao 35
Appendix F « Clearing RAM a aio eno a a arre, 36
Appendix G - Tips and Tricks .....1111 111114 A4 A A A A AA AR A NAN AAA AA 37
Appendix H - Version 2X Enhancements ........ LA aa VAL 39
Warranty Information ......... ara aaarecen ene rar, 40
IN EX RER 42
The Algorithms .......... Le A AAA AR A AAA AAA A A La A LR AL 44
Algorithm 100 - Diatonic Shift 45
Algorithm 101 - Layered Shift 48
Algorithm 102 - Dual Shift 50
Algorithm 103 - Stereo Shift 52
Algorithm 104 - Reverse Shift 54
Algorithm 105 - Swept Combs 56
Algorithm 106 - Swept Reverb 59
Algorithm 107 - Reverb Factory 62
Algorithm 108 - Ultra-Tap 65
Algorithm 109 - Long Digiplex 70
Algorithm 110 - Dual Digiplex 72
Algorithm 111 - Patch Factory 74
Algorithm 112 - Stutter 77
Algorithm 123 - mod factory|two 116
User Program Worksheets... aa anareroononoooao, 124
Quick Reference: H3000 ......... aaa aaaaeeneadanóo oca 135
The Front Panel and Controls
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Program Button: Press this button to load, save, or remove programs.
Function Button:
Parameter Button:
The Knob:
Numeric Entry:
EN
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Up/Down Buttons:
Levels Button:
Bypass Button:
Display :
Softkeys:
Input Bargraphs:
Power Switch:
Press this button to adjust display contrast and to access user defined functions. Also found
here 15 the internal function generator and anything relating to MIDI.
Press this button to edit parameters.
The knob is the eastest way to change a selected parameter. Just turn it.
Use the numbers, decimal point, and minus sign to enter a numeric value.
Hitting the ENT button actually enters the number.
Hitting CXL cancels the last keystroke.
These buttons increment or decrement a parameter or numeric value.
Press this button to permit adjustment of input and output levels.
Press this button to toggle between effect in line and total relay bypass of the Harmonizer.
This tells you what's going on. The top line displays the program number, name and the
parameter or function that is currently being modified. The bottom line is dedicated to the
four "softkeys" that are directly below it.
These are explained in "Running The H3000."
These bargraphs display the input signal levels to the H3000. Set levels as high as possible
before the top "Clip" light comes on. The bargraphs are calibrated in dB.
This applies AC power to the unit.
The H3000 Family of Products
The Eventide H3000 Ultra-Harmonizer is a family of products based around a multi-purpose programmable, digital audio
signal processor. The products that make up the H3000 family are:
The H3000-S (Studio), the H3000-SE (Special Edition), the H3000-B (Broadcast), the H3000-B+, the H3000-B/LT, the
H3000-D/SX, the H3000-D/SE, the H3500-dfx and the H3500-dfx/e. The H3500 models are also available in broadcast
Versions.
We call them Ultra because they do more than our earlier models. To begin with, they have full stereo pitch change. They also
are digital reverbs. And they're a lot more. The H3000 is capable of creating effects you've never heard before. The H3000 is
fully MIDI controllable, with clickless, real-time MIDI control, The H3000 has all these effects, and more, at your fingertips:
DIATONIC SHIFT
DUAL SHIFT
LAYERED SHIFT
STEREO SHIFT
REVERSE SHIFT
SWEPT COMBS
SWEPT REVERB
REVERB FACTORY
ULTRA-TAP
DUAL DIGIPLEX
LONG DIGIPLEX
PATCH FACTORY
STUTTER
DENSE ROOM
VOCODER
MULTI-SHIFT
BAND DELAY
STRING MODELLER
PHASER
MOD FACTORY
HS322/395 SAMPLER
Á pitch shifter that stays in key
Two separate pitch shifters
Two pitch shifts from one input
Mono-compatible stereo pitch shifting (maintains stereo imaging)
Backwards-talking pitch shift
Six sweepable delay lines, with stereo panning
A dense reverb with smooth sweep capability
A full-featured reverb with EQ and flexible gating
Twelve delay taps with full control over panning, level, and delay. Includes a diffusor to
generate dense gated reverb effects.
A stereo delay with smooth delay change
A 1.5 second delay with smooth delay control.
A "modular" effects program which lets you design your own effect. "Patch" together delay
lines, filters and pitch shifting to create never-heard-before effects.
Get that st..st.. stutter sound - effortlessly
Our densest reverb, with unique front/back position control.
Thus 1s our version of the classic vocoding effect.
Two six-octave pitch shifters, two delays, panning and patchable feedback paths make this
program incredibly useful.
A multi-tap delay line feeding eight resonant bandpass filters make for some sounds like
you've never heard.
This program lets the H3000 double as an extra voice in your MIDI rack.
A wonderfully thick, smooth, phase-shifting effect that is hard to beat,
The latest algorithms that add effects such as delay ducking, BPM delays and sweeps,
compression, manual flanging, smooth autopanning, audio triggered sweeps and much
more.
Included in the H3500 - dfx, digitally records up to 11.8 seconds stereo or 23.7 seconds
mono audio (47.5 seconds of stereo or 95 seconds of mono audio with the H3500 - dfx/e).
The Rear Panel and Connections
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| AC Connector: This is where the AC power cord is connected. It's an IEC standard 3 prong connector. The
center post 1s chassis ground.
2 Fuse Holder: A 1 Amp Slo-blo fuse. Always replace it with the correct value.
3 Line Voltage Select: This 1s the switch to set for 115v or 220v AC lines. Make sure it is correctly set for your
area.
4 MIDI IN: This jack accepts MIDI data from a MIDI source, such as a synthesizer, sequencer or
computer.
5 MID] THRU: Thus 15 the MIDI THRU jack. It sends out a duplicate copy of the MIDI IN data.
6 MIDI QUT: This jack outputs MIDI data from the H3000.
7 Audio In: These are balanced audio inputs. The female INPUT OUTPUT
XLR connectors are wired with pin #3 as +phase, ei A
pin #2 as -phase and pin #1 grounded (to the case sad 5 64 Hm
of the external XLR connector). 2210 y 1 >] !
8 Audio Out: These are the balanced audio outputs. They're INPUT OUTPUT
male XLR's wired like the inputs. EF ry
9 Tape Machine Control: This 1/4" phone jack allows for connection to a =F | E =
frequency controlled, variable-speed tape
machine. When connected, this port will be used
to control the capstan of the tape machine
during Timesqueeze® operation (PORT D).
10 Ports A.B. & C: These are for possible future expansion.
Optimum Performance from the H3000
To obtain the best performance from your new EVENTIDE unit, certain operating principles should be applied. Use the
“hottest” input levels possible without clipping. A digital gain device is used in the input section which allows front panel
control of levels. This device works best when it is "turned all the way up" in other words when it attenuates least. At the
factory, we chose pro levels of +4 dBm, and internal jumpers 1 through 4 should be in the "+4 position" (see diagram on next
page) so that the gain control devices will hardly attenuate. If consumer -10dBm levels are used, the jumpers should be moved
accordingly so that your unit can operate at its optimum, high levels.
For best signal to noise ratio, always set the input level control so that the top bar of the level indicators flashes from time to
time, If this results in output levels that are too "hot", reduce the output levels, not the input! If you are using sensitive inputs (-
10dB) you may want to pad the H3000 outputs so that you can operate the output level control near the top of its range and
retain its full variation. Suitable attenuator pads are available from stores, or may be constructed with an XLR connector, two
resistors, and an appropriate connector.
Output Attenuator
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In order to reduce line noise through cable pickup, an instrumentation amp is used at the input to cancel noise. This is called a
"differential input,” and enables the user to mount the H3000 remotely without fear of signal degradation. If you don't use
differential inputs, proper termination of the cable is desirable. For instance, if you only use pin 3 hot of the input XLR
connector for signal (the standard), pin 2 should be tied to ground.
The output ts differential also and “in-phase” with the input when "dry signal” is selected. If a single ended output is use, leave
the unused pin unconnected. The output amp is capable of driving 600 ohm lines up to +21 dBm with negligible distortion.
Normally the H3000 will be rack mounted in a standard 19 inch rack. It is advisable to keep the rack well ventilated and in a
dry environment so heat and moisture won't cause degradation of performance. Since your EVENTIDE ULTRA-
HARMONIZER has almost no intemal connectors, it should hold up well under "road conditions”.
Changing Input Levels
The input levels of the H3000 can be changed to accept either +4dBm ог -10dBm nominal operating levels. They are set to pro
audio, +4dBm at the factory. To change this remove the top cover of the unit and pull the small jumper blocks from the +4 pins
and put them on the -10 pins.
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H3000 Specifications
Inputs
Outputs
Dynamic Range
Distortion
Sampling
Frequency Response
Delay
Pitch Variation
Power
Size
Weight
Stereo, true differential balanced
Stereo, differential, transformerless
Greater than 92dB "A" weighted
01 % (.007 % typical) @ 1 kHz, 1 dB below clipping in "pitch
change" mode, 0 shift, levels all at 0 dB
Full 16 bit resolution at 44.1 kHz sampling rate
5 Hz to 20 kHz +/-1 dB, +/- 5 dB typical
Up to 23.7 seconds or 95 seconds with H3000 - dfx/e
H3000: 3 octaves up, 3 octaves down
75 watts, 110-130 volts, or 200-240 volts, AC 50/60 Hz
inches: 3.5h x 19w x 13.5d
centimeters: 8.9h x 48.3w x 34.3d
13 lbs. net
20 Ibs. shipping weight
Running the H3000
Softkeys and Menus
The bottom line of the display contains the MENU. The menu consists of up to four SOFTKEYS. Each softkey (the text
within the parentheses) describes the function of the button immediately below it. In general, the functions of the softkeys will
change depending on whether programs are being loaded, effects parameters are being edited, etc. There will usually be more
than one menu (set of four softkeys) available at any given time, For example, press the "PROGRAM" key. The display
should look like this:
Ce ne
(Load -)( Origin:
Press the "PROGRAM" key again and the display will change to this:
The new menu has changed the function of the softkeys, While editing a program, the parameter key has a similar effect. The
same also holds for the "FUNCTION" key. |
Setting the Display Contrast
If you have a green display and it is hard to read, you probably have to adjust the display contrast. Simply hit the function
button and turn the knob until the display is readable. Blue displays do not have a display contrast.
Setting the Levels
Proper setting of input levels on a digital processor like the Ultra-Harmonizer is very important. In order to get clean
distortion-free sound, the input level should be set so that the top yellow bar on each channel just flickers. The red light
indicates clipping. Output levels should be adjusted so that the H3000 is putting out the hottest signal your equipment can
handle without distorting.
To set the input levels, press the "LEVELS" key. The knob will now adjust both input levels simultaneously.
Pressing the "LEVELS" key a second time will allow you to adjust the output levels. The knob will adjust both outputs
simultaneously.
If you wish to set the levels individually, use the four softkeys to select one of the four adjustments.
Running the H3000 7
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The Bypass Control
The bypass control allows you to completely bypass the processed audio. When the light on the bypass switch is on, you are
hearing processed audio. When the light is off, the unit is bypassed. Pressing the bypass switch toggles from unbypassed to
bypassed and vice versa. The unit is automatically bypassed when power is off.
Loading a Program
To load a program, press the "PROGRAM" button. The display should now look like this:
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Selected program: {100]- “DEATONIC
( Load ) ( Origin ) Sa
Tum the knob or use the up/down buttons to scroll through the available programs. The PROGRAM NUMBER is displayed in
brackets, and the PROGRAM NAME is shown to the right of the number. Each effects program has a unique number from 0
to 999. This includes factory programs and user programs. The program name is used to describe each effects program. There
can be more than one program with the same name, so the program number is used to tell them apart.
When the display shows the program that you wish to load, press the ( Load ) softkey to "load" the new effects programs. (
Origin ) will show what algorithm that program was derived from.
At the end of the program list is "Selected Program : Last Edit". Pressing ( Load ) will load the previous program that the
H3000 was in as well as all of its edited parameters. Pressing the (Origin) softkey will display the name and number of that
program.
Editing a Program
Once you've gotten through the basic operation of the H3000 and are familiar with the preset factory programs, you might
want to create some of your own personalized effects. You can do this by editing parameters of an existing program.
To get into edit mode, just press the "PARAMETER" button. If #101 Layered Shift is loaded, the display should look
something hike this:
Running the H3000 8
When you're in edit mode, the top left of the display will show the current program number. The top night of the display shows
the parameter you are currently adjusting. A parameter is something which will change some aspect of the sound of the
currently loaded effect. If you turn the knob, use the up/down buttons, or enter a number on the keypad, you will change that
parameter. To adjust a different parameter, just press its softkey. To access other menus not shown, hit the "PARAMETER"
button. To go backwards through the menus, hit the "CXL" key on the keypad.
Soft Functions
Many of the factory programs in the H3000 are set up with something called "Soft Functions." The soft functions are a set of
four "user-definable" parameters, intended to allow each factory or user program to have a customized interface. These soft
functions will be the first menu to appear after loading a program. If there are no soft functions, the first parameter page will
be shown.
Unlike parameters, the Soft Functions will not appear when paging through parameter menus with the "PARAMETER"
button. To access the soft functions, press the "FUNCTION" button. Fach of the values of these soft functions can be
edited and saved just like parameters. However, the soft functions are not quite the same as parameters. Each soft function is
actually controlling one or more parameters (found on the parameter pages).
To learn more about soft functions, see the section on parameter modulation.
Expert Mode
The effects programs in the H3000 are set up with a relatively small number of parameters which you can use quickly and
easily to get your own personal sound. If you wish to experiment further, (especially those of you who enjoy programming
certain FM synthesizers), we have given you access to a whole bunch of extra, detailed parameters. These extra parameters
are accessed through the "expert" softkey found in most programs.
Press the ( expert ) softkey and you'll find a whole new set of menus and parameters. You can edit these parameters just like
normal parameters. To get back to the "basic" menus, press the ( return ) softkey.
Levels Mode
In some cases it may be desirable to have different input and output levels for different effects programs. To allow this, the
H3000 has a level adjustment scheme consisting of "master" levels and "offset" levels.
The master levels settings are those made after pressing the "LEVELS" button. These settings do not change as different
effects programs are loaded. The offset levels settings are those made while editing an effects program. These settings are
stored with user and factory programs and are recalled when these programs are loaded.
The actual attenuation value sent to the input and output level attenuators is the sum of the master and offset levels settings.
For example, 1f the master input leve! setting is -4 dB and the offset for the current program 1s set to -5dB, the actual
attenuation value is -9 dB.
There are a couple of things to keep in mind. The first is that if the master input or output level is set to "off", the input or
output 1s "off" regardless of the offset setting. The other is that the sum of the master level and the offset level is limited to a
value between 0 and -48 dB (-48 dB = "off"). If the master level is set to -4 dB and the offset is set to +10 dB, the actual level
will be 0 dB, not +6 dB as one might expect.
To adjust the offset levels, press the "PARAMETER" key until the (levels) softkey appears. Press the (levels) key.
From this menu, the four offset levels can be adjusted. The adjustment range for each of the offsets is +/- 48 dB. To return to
the main parameters, press ( return ).
Running the H3000 9
Saving an Edit
Now that you're a pro at editing programs, you'll probably want to save what you've created. If you're in edit mode, pressing
the "PROGRAM" button twice will allow you to save your edit. The display should look like this:
Current Edit:. 11011 Layered | Shift.
( Info )(- “Save AN
To save the edit as a new program, press the ( Save ) softkey. The display will change to:
Save as: [ 1] Layered Shift Adj Num>
(New Name) (EditName) - .- (Save It)
Use the knob or keypad to select a new program number. To create the program name, press the (New Name) softkey or the
(EditName) softkey. (New Name) will start you off with a blank slate while (EditName) will allow you to edit the existing
name. The display will look Hke:
save as: { 1} ~~ ~~ ‚Ad; Name>
( Number )( <-—--- }{ -----> ) (Save It )
Use the arrow softkeys and the knob to enter a new program name. Press (Save It ) to actually save the program. Press
number to change the program number. If you change your mind about saving this edit, press the "PROGRAM",
"FUNCTION" or "PARAMETER" key.
If you're editing one of your own creations and want the new edit to be the final version under the same name, pressing
"PROGRAM" twice should get a display something like this:
current. Edit :[ 1] ‘Special Effect. e
(Info) + “Save 5 (Update ÿ AE
Press ( Update ), The display should show:
Overwrite Program. т. 11 special Effect
pe ON UNO) Но |
Press ( Yes ) to save your new edit. Pressing ( No )will get you back to the "Current Edit" menu.
Running the H3000 10
Removing User Programs
There may come a time when you wish to remove some of the user programs. Get into the Selected Program list/load mode.
Pressing the "PROGRAM" button once from edit mode should do it. The display should show:
Selected. program: 94] Special Ef,
Press the ( Remove ) softkey. The display will change to:
Press ( Yes ) to remove the program. Press ( No ) if you've changed your mind and still want to keep the program.
Miscellaneous
To find out which algorithm a particular preset is based upon, use the ( Origin ) sofikey. Press the "PROGRAM" once, dial
up the preset of interest, then press and hold ( Origin ).
The ( Info ) softkey will show you much memory is needed to save or update a preset and how much room is le in the
memory of the H3000. Press the "PROGRAM" key twice, then press and hold ( Info ) to see:
Amount of bytes available is 7357
Save needs 26 Update needs 6
Running the H3000 11
Parameter Modulation
Have you ever wished the H3000 had more than one knob on the front panel? Or perhaps that there was some way to
automatically sweep parameters? Or perhaps even some way to control effects parameters from the mod wheel on a MIDI
keyboard? If anything like this has crossed your mind, then "Parameter Modulation" is for you.
Simply put, "Parameter Modulation" allows H3000 effects parameters to be controlled in a useful variety of ways. There are
three basic ways that effects parameters can be controlled (other than using the normal effect editing keys):
1) MIDI - Effects parameters can be "patched" to virtually any MID! controller, including mod wheel, pitch
bend, and note messages.
2) The Function Generator - Effects parameters can be patched to the internal function generator of the H3000.
The function generator is basically an LFO (low frequency oscillator) that can produce various waveforms
and triggered functions,
3) Soft Functions - Soft Functions are custom parameter controls which allow the user to control more than one
effect parameter simultaneously. Once defined, these functions appear on the display and are controlled in a
similar manner to the standard parameters.
Patching Parameters for Modulation
The following example uses the Layered Shift algorithm. If you plan to follow along, first load Layered Shift (program £101).
To set up a parameter modulation patch, press the "FUNCTION" key twice. The display will show this menu:
Modulation of Parameters a а В a
( Patch ) (SoftFunc) (FuncGen ) (Control )
To begin patching, press ( Patch ). Initially, there will be nothing patched. The display will show:
1 pitch -> Patch is disabled .. =
{ Parmtr ]( Source ) ( range ) (per note)
Press ( Parmtr ) to select the effects parameter to be controlled. (Note: see the factory program description for a list of
controllable parameters.) Turning the knob will scroll through the list of controllable parameters.
Press ( Source ) to select the controller which will be patched to the effect parameter. Turning the knob will scroll through the
avatlable controllers. This list contains all the MIDI controllers, the "Soft Functions" and the function generator. As you turn
the wheel you may notice softkeys appearing and disappearing. These keys are used to adjust certain parameters of the
controllers. If you've pressed any other softkeys (to adjust the controller parameters), pressing ( Source ) will get you back to
selecting a controller. See Appendix A for a more complete description of the controllers and their settings.
Turn the wheel until the desired controller 1s shown on the display. Turn the knob to the end of the list.
Parameter Modulation 12
The display should show:
“Generator.
The (range ) and (per note) keys determine how much the controller changes the effect parameter. Press (range ) and the
display will change to:
( Ра rmt r 3 + Sou r ce №: Нан ( pe r-no t e)
The first number (the range) shows how much the effect would change if the controller changed over its full range. In this
example, if the function generator changed from zero to maximum, the pitch would increase by 1200 cents,
The second number shows how much the smallest change in the controller data would change the pitch. This is mainly used for
MIDI notes. When MIDI notes are patched to a parameter, the "per note" value shows how much the parameter would change
for each half-step. To adjust the range in half-step increments, press the (per note) key.
In some cases, instead of ( range ) and (per note), the softkey ( amount ) will appear. Like range, (amount) will contro! the
depth of modulation, with the exception that the value shown is the percentage of the parameters adjustment range.
To see the effect of all this, go into the edit mode and look at the 'I pitch ' parameter. (Press the "PARAMETER" button and
then press the (1 coarse) softkey.) You should see the pitch value changing in the display. See the section on the function
generator to change the function type or frequency.
It is important to realize that the setting of the effects parameter through the front panel works together with the controller.
Setting the parameter from the panel gives a "base" setting which the controller either adds to or subtracts from.
Patching to Trigger Parameters
So far, we have tried to keep things simple by talking about modulating the “parameters”. Some parameters, though, have no
values. These parameters usually trigger events. An example of trigger parameters are the trigger keys in the "Stutter"
algorithm.
To patch these trigger parameters to controllers, follow the procedure outlined above, with a small difference. When a trigger
parameter is selected to be patched, there will not be any scaling softkeys ( Range, Per note, Amount ). Also, there will be a
different list of controllers to select from. See Appendix A for a complete description of the trigger controllers.
Soft Functions
As mentioned above, you can define your own soft keys. These are called "Soft Functions". To use a Soft Function, simply
patch it to an effects parameter. To adjust the soft function, press the "FUNCTION" key once. The soft function key will
appear on the menu line. It is adjustable just like a parameter.
Parameter Modulation 13
There are four soft functions available for patching, The first page of the "FUNCTION" key menu is dedicated to the four
soft functions. When a soft function is first patched, the menu will display the key as " Knob 1", " Knob 2 ", etc. These
names can be edited to display anything you like.
To edit a soft function, get back to the modulation main menu by pressing "FUNCTION." The display should show this:
fodulation of Parameters
(Patch ‘) (SoftFunc) (FuncGen ) (Contr
Now press (SoftFunc) to edit a soft function:
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[ Select ]( Name. ) (Sens ) (Polarity)
Press ( Select ) to select the knob you wish to edit (Knob 1 through Knob 4). Press (Name) to edit the name of the Soft
Function. The display will look like this:
Soft 1 is " Soft 1 " Sens= 100 Pol = +
Editing the name works just like saving a preset (see "Saving an Edit"). When you are finished press (Done).
Press ( Sens ) to adjust the resolution of the knob. This allows you to tailor the "feel” of the knob to the parameter that you
want to control. Higher settings of sensitivity allow you to adjust the parameter more finely, but require a few turns of the
knob to cover the full range of adjustment. Lower settings will give you coarser control over the parameter, but will allow
quick changes.
(Polarity) will select whether the softknob's range is O to 100 (+) or - 100 to 100 (+-).
The Function Generator
You can modulate parameters automatically with the Function Generator. Once you have patched a parameter to the Function
Generator, get back to the Modulation Main menu by hitting "FUNCTION". The display should show:
Modulation of Parameters: .
( Patch ) (SoftFunc):(FuricGen) (Control)
To adjust the Function Generator, press (FuncGen ). You will get this display:
Function Generator: Parameters:
(Function) ( Amount) (i Rate A) (Trigger).
Press ( Amount ) to adjust the amplitude of the function output. His in per cent of full scale. Keep in mind that some function
types go both positive and negative. This parameter can also be modulated, usually by a soft function.
Press ( Rate )to adjust the frequency of the function. This parameter can also be modulated, usually by a soft function. For
kicks try patching this parameter to the function generator (you'll get FM type waveforms).
Parameter Modulation 14
Pressing (Trigger ) will tigger a one-shot function or restart a continuous function. To activate the trigger from a soft
function or through MIDI, patch "FuncTrig" to your desired trigger.
Press (Function) to select the type of function. Tum the wheel to scroll through a list of the function types. The function
types include continuous functions and one-shot (triggered) functions. See the diagrams below for the function types:
NR NO NON
;Sine Wave
AAN NN
J VU VV VU
AA AAA
NV VV
Y ууу
Square Wave
|| —
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Linear Hamp
Devaving Ramp
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,
Whole Sine Wave
5
<
Parameter Modulation 15
Whole Triangle Wave
Whole Peal Wave
>
<
| Fall Sgare wave
|
|
da
¡Half Sine Wave
|
X
: Half Triangle Wave
"Hall Peak Wave
LS
‘Pulse Wave
ji
‘Triggered Sample and Hold
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1 .
This generates a new random value for each trigger.
Toggle Ramp
| T T
Г
| A trigger will cause this function to ramp from zera to
positive full scale Successive triggers will reverse the
direction ef the ramping.
Modulation Control
At times you may wish to disable the modulation of parameters. You can do this by hitting the (Control ) soft key in the
modulation of parameters menu. You will get:
Control of ‘Parameter Modulation SOE
(Mod= 0m) (ModReset) - ooo ie
Pressing (Mod= XXX) will toggle parameter modulation. (Mod= On ) means modulation is enabled and (Mod= Off) means
it is disabled. Modulation 1s automatically enabled when a program is loaded.
Disabling modulation does not reset parameters to their unmodulated states, it only prevents any more changes in modulation.
To set all of the modulations to zero, press (ModReset).
Parameter Modulation 16
Introduction to MIDI
What is MIDI?
MIDI stands for Musical Instrument Digital Interface. That's quite a mouthful. What it means is that there is now a way for
musical devices to talk to each other. MIDI was originally devised by a group of synthesizer manufacturers to allow one
keyboard or sequencer or computer to control any other keyboard or sequencer or computer in a standard, foolproof way. It
has since become so well accepted that just about any imaginable musical (or not so musical) device now comes equipped with
a MIDI interface.
MIDI and the Ultra-Harmonizer
So what can MIDI do for us? The simplest and most intuitive use for MIDI with the Ultra-Harmonizer is to change effects
programs remotely, on the fly, or automatically in a computer-sequenced piece of music. This is accomplished by using MID!
program change. With MIDI program change, the H3000 can change its effect program every time a keyboard player changes
a patch on his MIDI-equipped synth. Or, in a sequenced song, the sequencer could change the effect for different parts of the
song. To find out how this works see the section on MIDI Program Change.
What else can it do? MIDI can be used to dynamically change parameters within a given program. For example, MID! note
commands could be used to set the amount of pitch shift on a pitch shift program. How about arpeggiating a live vocal
performance? Or possibly using the modulation wheel on a synthesizer to contro! flanging rate or depth, or both at the same
time? Maybe even have the decay time on a reverb change depending on what notes are being played on a keyboard? All of
this and more is possible by using MIDI and the Ultra-Harmonizer. Interested? See the chapter on Parameter Modulation.
Can 1t do anything else? Yes. If you're a prolific effects programmer, and have come up with more effects programs than the
Ultra-Harmonizer's memory can handle, MIDI can help you. Using the program dump feature and a MIDI-equipped computer
you can store a virtually limitless number of effects on your computer's floppy disks (or hard disk). For more info, see the
MIDI Data Dumping section.
Using a sequencer, any sequencer, (we don't know of any that won't work), you can go through a song, load programs here,
change the pitch there. Play the song back using the sequencer and the H3000 will repeat what you just did. Read the section
on sequencing,
Intro to MIDI 17
+
How to Hook up MIDI
The easiest way to use MIDI is with the Ultra-Harmonizer and one MIDI synthesizer. To hook it up, simply use a MIDI cable
to connect the MIDI Out of the synthesizer to the MIDI In of the Ultra-Harmonizer. With this setup you can use MIDI
program change and have real-time (live) control over effects parameters.
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A sequenced MIDI system would use a MIDI sequencer or MIDI-equipped computer and the Ultra-Harmonizer. With this
kind of setup you could do sequenced program changes, sequenced parameter changing and MIDI program storage and
retrieval. Connection 1s simple...
MIDI SEQUENCER
ops ps = PSE Out
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The ultimate could be everything mentioned above with the addition of multiple Ultra-Harmonizers, a MIDI equipped mixer, a
MIDI switcher, and anything else you might imagine. The rest is left up to you.
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MIDI SEQUENCER - MIDI MIXER
Intro to MIDI 18
Using MIDI
MIDI Receive Enable
Pressing the "FUNCTION" key three times will bring up the MIDI Functions menu. It should look something like this:
(Rev=0n ) 1s the master MIDI reception enable softkey. This lets MIDI data into the H3000. (Rev=On ) means yes, MID!
data will be received. (Rev=Off ) means no, the H3000 will not receive any MIDI data. However, the MIDI thru jack will
still operate. Hitting the softkey will change "on" to "off" and back again.
MIDI Channel and Omni Mode
In order for MIDI to work at all, Omni mode must be on, or the MIDI channel number (base channel) of the sending device
(synth or sequencer) must be the same as the MIDI channel of the H3000. To set the MIDI channel on the H3000 press the
(Base=..) softkey and tum the knob to set the channel number in the range 1 through 16.
Omni Mode is a special MIDI mode which allows a device to receive MIDI information on ali 16 channels. It just ignores the
channel number. To enable or disable Omni Mode hit the (Omni=xxx) softkey once, then again to change to on or off. When
the key reads (Omni= On) the H3000 will ignore MID! channel numbers. When the key reads (Omni=Off), the H3000 will
respond to specific channel numbers.
See Appendix B for information about the "expert" MIDI functions.
MIDI Program Change
MIDI Program Change is a number sent out over MIDI from a MIDI synthesizer or sequencer. This number is sent out
whenever a patch 1s changed on a MIDI synth. For example, loading patch 23 on a synth should send out a program change
number of 23 over MIDI. Note: On some synths, the program number sent out is actually one less than the patch number on
the synth. On a DX7 for example, pressing program 23 will send out a MIDI program number of 22.
To access the MIDI program load functions, press the "FUNCTION" button four times. The screen should look like:
( Map — ){:Pom-1D") (Rom-On) (Bank= 0)
There are three ways the H3000 can deal with MIDI Program Change:
1. Do Nothing - Program Change is disabled. To disable MIDI Program Change, hit the third softkey until the text of
the key reads ( Pgm=Off). Program Change is enabled when the key reads { Pgm=0n ).
2. Load the program with the same number as the MIDI program number (a MIDI Program Change 23 from any synth
would cause effect program 23 to be loaded). To have the H3000 respond in this way, hit the second softkey until the
text of the key reads ( Pgm=ID ). Also, make sure Program Change is enabled; the third softkey reads (Pgm=on)
and (Bank = 0).
Using MIDI 19
3. Map the MIDI program number to some other H3000 effects program number. For example, a MIDI program change
of 23 could load effect program 5, while MIDI program change of 24 could cause effect program 19 to be loaded. To
have the H3000 respond in this way, hit the second softkey until it reads (Pgm=Map). Again, make sure Program
Change 1s enabled.
Program Change Bank Select
When using the "ID" program change method, programs with numbers greater than 127 can be accessed by changing the bank
number. To change the bank, press (Bank= 0) and turn the knob. When the bank number is set to O, programs 0 through 99
will be loaded with program change numbers of 0 through 99. If the bank is set to 1, programs 100 through 199 will be
loaded. If itis set to 2, programs 200 through 299 will be loaded, etc.
There are a couple of special cases:
For program change numbers of 100 through 127, the bank number is ignored (programs 100 to 127 will
always be loaded).
To load the last edit, set the bank to 10 and send any program change number from 0 through 99,
See the section on "Sequencing" if you are interested in changing the bank number through MIDI.
Setting up the Program Change Map
If you want to use program change mapping, you'll first have to set up the map. To do that, press the ( Map ) softkey.
You'll see a new display:
Midi Pgm # 0 Loads Nothing, Unpatched _
( Number ) ( Name )( Clear +)
This display shows that MIDI Program Number 0 loads nothing. To get MIDI Program 0 to load an effect, press ( Name )
and select the effect to be loaded. To set up other MIDI Program numbers, press ( Number) and turn the knob. To clear the
map, press (Clear),
Sequencing with MIDI
The H3000 can be hooked up to a MIDI sequencer so that front panel operations can be recorded and played back, This
works with almost any sequencer. To set it up, press "FUNCTION" five times. The display should look something like this:
MIDI Computer and:Sequencer Functions...
(Seg= Off) ( Enables)... ‘i... ( Dumps y
To set up the H3000 for sequencing, press (Seq= Off) to change the "Off" to an "On". Also, make sure that MIDI reception 1s
enabled, ( Rev=On ) on the "MIDI functions" page.
To try sequencing. connect the MIDI “out” of the H3000 to the MIDI "in" of your sequencer. Connect the MIDI "in" of the
H3000 to the MIDI "out" of your sequencer. Start recording on your sequencer and then change programs, parameters, levels,
etc. on the H3000. Stop recording and play the sequence back. The H3000 should repeat everything you just did.
Using MIDI 20
Enables for Sequencing
When in sequence mode ("Seg=on"), you can customize what aspects of the machine get transmitted and received over MIDI.
Normally, virtually everything done on the front panel will get transmitted and received. If you wish to change this, press (
Enables). The display will show:
Here is a description of the transmission parameters:
Lvls=On/Off Turns on and off the transmission of front panel level changes and changes in the bypass
control.
Pgm=On/Off: Turns on and off the transmission of program changes and parameter changes.
Press ( more ) to change the reception parameters. Here is a description of the reception parameters:
Lvls-On/Off: Turns on and off the reception of front panel level changes and changes in the bypass
control,
Pgm=OOff: Turns on and off the reception of program changes and parameter changes.
The Effect of Seguencing on MIDI Program Change
When sequencing 15 enabled, ( Seg=Omn ), and sequenced program reception is enabled, ( Pgm=On ), certain other parameters
are automatically set to allow proper sequencing. Specifically, in the MIDI Program Change menu, the display will now
show:
MidiProgramChange Functions <SEQUENCED> -
(Map) ( Pgu=ID )( Pgm=0n ) (Bank= . 0)
The <SEQUENCED> indicates that the H3000 1s in sequence mode and that certain conditions have been "forced". These
conditions are:
MIDI Program Change reception is automatically enabled.
The MIDI Program Change patch map is disabled (the ID method is used).
These conditions are forced to ensure that sequencing will be done properly. Once sequencing is disabled (or sequenced
program reception is disabled), these parameters will return to their previous settings.
MIDI Data Dumping
So, you've used up all the preset memory in your Ultra-Harmonizer and you don't want to throw away any of your wonderful
programs. What can you do? MIDI Data Dumping on the H3000 will allow you to save your user programs on a MIDI
equipped computer. You can also save your program change map with a MIDI data dump.
MIDI data dumping uses a special type of MIDI command known as System Exclusive. To take advantage of the MIDI data
dump, you'll need a MIDI equipped computer and software which will recognize and save system exclusive data. Hook up the
Using MIDI © 2]
MIDI OUT from the H3000 to the MIDI IN on the computer. Connect the MIDI OUT from the computer to the MIDI IN on
the H3000. To dump data from the H3000, press the "FUNCTION" button five times. You should see this display:
Зе
рта N +
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E
MIDI" Computer “and: Se
E (Dumps >):
(Sea=-0£f) (-Eniables).
Now press ( Dumps ):
(DumpEdit) (Dump Pr
Press (Dump Pre) to dump all of the user programs over the MIDI OUT port. Press (DumpEdit) to dump the current edit.
Press (Dump Map) to dump the program change map.
When the H3000 receives a preset dump, it will replace its current set of user programs with the new programs. Be careful!!
Make sure you have saved any valuable programs before sending the H3000 a MIDI dump! The same is true for the
program change map and for the current edit data dumps.
In the MIDI Expert section of this manual (Appendix B), you will find information about how to disable the H3000 from
receiving data dumps. Also, there is a description of how to have several H3000s connected to the same computer.
Using MIDI 22
A Final Word...
The information above 1s intended to allow you to use the H3000 with MIDI and to give you a description of the modes of
MIDI operation of which it is capable.
Since MIDI is a relatively new phenomenon, you may have some questions.
If you are a MIDI novice, this entire discussion may be incomprehensible.
If you are a MIDI expert, you may have questions that we never thought of, and to which we have no immediate answers.
We hope we hit the right level for the majority of people who are likely to have purchased this product. If we didn't, here's
what to do:
If you are a MIDI novice, buy a book or read some of the excellent articles on the subject published by the many magazines
available to amateur and professional musicians, or by the magazines catering to the recording trade, both home and
professional.
If you are a MIDI expert, EXPERIMENT. You can't damage the H3000 with MIDI input data. Just be sure you've saved your
valuable presets first, and re-load them when you're done.
If you're a MIDI journeyman, you can do either of the above.
And, of course, you can always contact Eventide if you have specific questions about the H3000 MIDI implementation. We
realize that the manual is neither 100% complete nor as detailed as it might be for every class of user. We want you to get full
use and enjoyment out of your H3000. To this end, we urge you to WRITE to us if you have any questions about MIDI
operation that are not resolved by the manual. We promise a quick reply, either answering your question, or at least explaining
why it can't be answered. We regret that due to the specialized nature of MIDI inquiries we cannot answer your questions on
the telephone.
When writing, please be as specific as possible, and tell us exactly what information you need that isn't covered (or is
confusing) in the manual. An additional advantage of writing is that we will add your name to a specific lst of MIDI Mavens
who will irregularly receive updates which contain some of the interesting and useful questions and answers received from
people hike yourselves,
Using MIDI 23
Appendix A - Parameter Modulation
The following is a list of the available modulation controllers.
Scaler-type Controllers
The following are used to control value type parameters like pitch, delay, decay, etc.
Modulation Wheel
Moving the Modulation Wheel can change the effect parameter. With the Modulation Wheel moved all the way backward
(position zero), the amount of pitch shift, for example, will be at the point you last set. When you move the wheel forward,
and if the range is positive, the pitch will go up (until the limit). If the parameter range is negative, the pitch will go down. In
the MIDI Standard, this 1s controller number 1. It is also what we call a large controller meaning that there are coarse and fine
controllers used in order to allow precise control. Some synthesizers send only the coarse signal.
Pitch Wheel Only
Most Pitch Wheels have a center position. This is position zero where there 1s no effect on the parameter. Rolling the Pitch
Wheel forward will increase the parameter, rolling it backward lowers the parameter. If range is negative, the reaction will be
opposite. The Pitch Wheel will affect the parameter both positively and negatively.
Pitch Wheel Positive
This only affects the parameter positively (with a positive range). Move the Pitch Wheel forward and the selected parameter
will go up, center it and the parameter is back again. Now move the Wheel backward and the parameter will go up again.
First Note & PW
PW represents the Pitch Wheel sensitivity. A synthesizer Pitch Wheel rolled all the way up can raise the synth's pitch an
octave or some small amount (Major 2nd) depending upon the Pitch Wheel sensitivity control on the synth. The H3000 has
the same control. Changing the synth's pitch one octave with its Wheel could change the H3000's pitch parameter (for
example) by only a half step. The number is the maximum halftones you can shift. You have a 10 cent resolution and a two
octave maximum.
For simplicity's sake, let's assume the PW=0 (no Pitch Wheel). You're at the keyboard. No keys are pressed. We'll call this
reset state. You press a key. This first key changes the value of the parameter. The higher the key the more change. The
amount of change 1s based on the lowest note that MIDI knows about. Since most keyboards cannot play this note, you will
never get back to no modification by playing notes. You may want to readjust the parameter so that with this particular key
you get some amount of pitch shift (using our example). The way to do that is to play the note, then turn the knob on the
H3000 to the pitch shuft value that you want for that note. Now, lifting up on the key (reset state) the pitch change value will
not change. You now press another different note. The pitch will change again. Pressing other notes while this note is down
will do nothing. The first note after reset state is the note that will affect the parameter.
Last Note & PW
We now ignore reset state. The last key that has been pressed on the keyboard is used to change the parameter. Every time
you press a different key, the parameter will change.
High Note & PW
Now we don't ignore reset state again. With no notes pressed, press a key. It acts like the first note. While holding down that
key, press a key lower than the first key. Nothing happens. Press a key higher than the first key, the parameter changes! Lift
the last key, nothing will happen. Press a key lower than the last key, nothing will happen. The change is determined by the
highest key to be pressed after reset state. (Note, this is not necessarily the highest note currently being pressed.)
Low Note & PW
Appendix A 24
This 15 the opposite of the above. It's the lowest key to be pressed after reset state, (no keys pressed). You can use this to
control two parameters, like right and left pitch shift on one keyboard.
Note Offset & PW
From no keys down (reset state) press a key. The amount of parameter change goes to zero. Press another key. The
difference between the first key and the last key is the amount of change. This can be both positive and negative.
Quantity of Notes Down
The current number of keys pressed is the amount of change of the parameter. Lifting keys will affect the parameter. This
control will usually need a large range setting.
First Note Velocity
Last Note Velocity
High Note Velocity
Low Note Velocity
Instead of using the placement of the key on the keyboard, we use how hard that key is struck. Which key 1s looked at is
determined by the mode selected.
Note xxx Velocity
XXX is a specific key that you select. How hard this particular key is struck is how much the parameter changes.
First Note Pressure
Last Note Pressure
High Note Pressure
Low Note Pressure
Like velocity, the polyphonic pressure (aftertouch) determines the parameter changes. The particular key whose pressure
affects the parameter is determined by the mode.
Note xxx Pressure
You select the key (number xxx). The pressure of that key changes the parameter.
Global Pressure
DX-7's and the like have global pressure (pressure on the entire keyboard). This ties that into the parameter.
Last Note Release
How fast the last key 15 released determines the change in the parameter.
Note xxx Release
Again, you select the key (number xxx). How fast that key is released alters the parameter.
Velocity and Release
How fast the last strike was or the last release determines the amount the parameter changes. This could be a measure of
keyboard activity.
Breath Controller
Foot Controller
Expression Controller
GP Controller #1-8
These are the various MIDI controllers to which parameters can be patched. They are all large controllers except GP
Controllers 5-8.
Breath Controller MIDI #2
Foot Controller MIDI #4
Expression Controller MIDI #11
GP Controller #1 MIDI #16
GP Controller #2 MIDI #17
Appendix A 25
GP Controller #3 MIDI #18
GP Controller #4 MIDI #19
GP Controller #5 MIDI #80
GP Controller #6 MIDI #81
GP Controller #7 MIDI #82
GP Controller #8 MIDI #83
Damper Pedai
Portamento Pedal
These are pedal controllers. Your synthesizer should send out 0 and max values for these, so the parameter 1s changed
between two values (on or off).
Damper Pedal MIDI #64
Portamento Pedal MIDI #65
Notes Down Th(reshold)=xx
Last Note Velocity Th(reshold)=xx
Global Pressure Th(reshold)=xx
These are like the controllers before that have the same names. The difference is that "Th=xx" is a threshold number. They
act like off/on pedals, 0 or max (depending on how range is set). The "Th=xx" is the threshold where this change happens.
"xx" 1s the threshold point. For instance, in Notes Down, "xx" is how many keys have to be pressed before the parameter
changes.
MIDI Clock Frequency
With sequencers and drum machines, a timing clock is sent out over MIDI. The rate of this clock will alter the parameter. A
faster clock, more of a change in the parameter. Note: You cannot reset the parameter if you are using this controller because
it constantly updates the parameter. There is no channel number to the MIDI clock.
MID! Clock Period
This acts as the reciprocal of MIDI Clock Frequency, the faster the MIDI clock, the lower the change. This controller is great
to tie to delays. As you speed up the song, the delays will follow in time. This mode also cannot be reset.
Undefined Small 0-121
Undefined Large 0-31
The MIDI specification contains a large number of undefined controllers. In time, they will have new definitions. Also, some
manufacturers use these for their own purposes. You can use these to tie parameters to any MIDI controller, so that in the
future, you can take advantage of new ones.
Small 1s a smgle message MIDI controller. Large refers to MIDI controllers use two messages.
Soft Function i
Soft Function 2
Soft Function 3
Soft Function 4
These are not MIDI. This 1s where you patch your own parameters. When a parameter is patched to a Soft Function, the
name in the quotes appears as a Softkey when you press the "FUNCTION" key. Hitting the soft key and turning the knob
allows you to modulate the parameter that you patched. It's like putting the Modulation Wheel on the front panel of the
H3000. See the section on Soft Functions for more information.
Function Generator
This will modulate the parameter automatically. It's like someone turning the modulation wheel for you. See the section on
the Function Generator for more information.
Program Specific Modulators
Appendix A 26
The current program may add some controllers. Certain programs have information that could be useful for modulating
parameters (Input Pitch, Amplitude, etc.) These will appear as you scroll through the list.
Trigger-Type Controllers
These are used with trigger-type parameters. They are events that will trigger something to happen in the H3000.
First Note
The first time you hit a note after no notes are down will trigger something to happen.
Last Note |
Every time a note 1s struck on the keyboard the trigger happens.
Note xxx only
Whenever a specific note is hit (xxx) the trigger occurs.
Note xxx above
Whenever the note or a note above the specified note is hit, the trigger occurs,
Note xxx below
Similar to above, whenever the note or a note below is hit, the trigger occurs.
Soft Function 1
Soft Function 2
Soft Function 3
Soft Function 4
This is where you patch your own parameters. When a parameter is patched to a Soft Function, The name in the quotes
appears as a Softkey when you press the "FUNCTION" key. Hitting the soft key causes the trigger to happen. See the
section on Soft Functions for more information.
Function Gen,
This patches the trigger to the Function Generator. You can have the trigger occur when the value of the function generator
rises (or falls) above (or below) a certain value. A threshold adjust picks where on the wave you want to trigger, The polarity
selects if the wave should be rising (Up) or falling (Down).
Damper Pedal
Portamento Pedal
These are pedal MIDI controllers. Depressing one of these pedals will cause the trigger.
Damper Pedal MIDI #64
Portamento Pedal MIDI #65
Notes Down Th(reshold)=xx
Last Note Velocity Th(reshold y=xx
Global Pressure Th(reshold)=xx
These are like the controllers before that have the same names. The difference is that "Th=xx" is a threshold number.
Whenever the threshold is crossed from below, the trigger occurs. "xx" is the threshold point. For instance, in Notes Down
"xx" is how many keys have to be pressed before the parameter changes.
Undefined Small = xxx
This 1s for pedals or other MIDI controllers. When the value of the controller rises above half the full scale value, the trigger
occurs. xxx is the controller number. The controllers are considered one byte MIDI controllers.
Program Specific Modulators
Appendix A 27
The current program may add some controllers. Certain programs recognize events that could be useful for triggering. These
will appear as you scroll through the list,
Specifiers For Modulation Modes
Ch+
This 1s a number representing a MIDI channel offset. The number shown is added to the base channel. If the sum exceeds 16
then 16 ts subtracted from the number (it wraps around). If Omni mode is ON, this has no effect as MIDI channel will be
ignored.
PW=
This is the Pitch Wheel sensitivity. It is in semi-tones and it is the maximum shift the pitch wheel will give you. The number
has a 10 cent resolution.
Just the word followed by some text usually refers to a specific note. Moving the Wheel will change the text. The text is two
parts, on the right is the note and its number. An x instead of a number indicates a note in the lowest octave that MID]
addresses. On the left will occasionally appear text that gives you a reference. All A notes have a frequency and "Mid" refers
to Middle C.
Th=
This ts a threshold. It will be a number from 0 to 127. It divides the possible values into 128 and you pick which point is the
threshold. A special case 15 with the Function Generator. Here, the value is from -100 to 100 and is a percentage of full scale.
Up / Down
Thus 1s used with the Function Generator trigger. It specifies if the trigger occurs when the value of the Function Generator
rises above the threshold { Up ) or when the value falls below the threshold { Down ).
"хухххххх"
With Soft Functions, this is the current name of the Softkey for this Soft Function. See the section on the Soft Functions for
more information including how you can change this name.
Appendix A 28
Appendix B - Expert MIDI
Like the programs, MIDI has an expert mode. Hitting the "FUNCTION" key three times should get the MIDI System
Functions menu. Press the ( Expert ) Softkey to get this display:
These are functions that deal with MIDI System Exclusive in the H3000.
The (Dev = 0) softkey allows you to set a number from 0 to 99. The data dump functions of the H3000 use the MIDI System
Exclusive command. This command information is similar to channel numbers. Your H3000 will respond only to System
Exclusive information that was meant for EVENTIDE equipment and containing this number. This allows you to set up lots
of H3000s (up to 100, to be exact) and direct messages to a specific one. Normally this is left at zero when only one H3000 is
being used. Set this number uniquely for each H3000 you are using. |
The (SysX=On ) is an enable for reception of Eventide System Exclusive information. Pressing this will change the "On" to
"Off", thus preventing any Eventide System Exclusive information from being accepted. This includes dumps to the H3000.
Note, this will not stop Universal System Exclusive information, such as bank select.
Press ( more ) for another MIDI Expert menu:
Expert MIDI Functions =.
(MIDI-mon) (Err= Off) ( more)
These functions are for finding problems that you may have with MIDI.
Pressing (Err= Off) will do nothing. It will stay "Off". If the H3000 detects a lost MID! information byte, it will read (Err=
On). Pressing the softkey then will change the "On" to a "Off".
Pressing the (MIDI-Mon) softkey will put you into the MIDI Monitor. The display will look something like this:
MIDI Input in Hex, Bypass to Esc T= 470
FO 2E 45 F1 45 3A F8 F1 37 3E FO 45 00
This function monitors the MIDI input data stream. The last 13 bytes are on the bottom line with the most recent data on the
right. The numbers are in Hexadecimal. Hexadecimal is easy to use when looking at the bytes of MIDI. You will need a
MIDI specification document in order to know what the data means. "T=xxx" is a monitor of the MIDI Timing Clock. The
number is related to the frequency of Time Clocks (F8) that are received. The actual number is based on an internal function
of the H3000. Also, if the timing clocks stop, the number will not go to zero. This function is provided in order to give you a
way to see that the H3000 is receiving data and timing clocks. You can also see the nature of the data received and, if you
spend some time, see what your synths are putting out. As we were designing the H3000 we occasionally found this a useful
function to diagnose problems.
Appendix B 29
To leave the MIDI Monitor, press the bypass switch twice. This will take you back to the expert functions.
Press ( more ) for another MIDI Expert menu:
(Of f=Both) (Bank=SyX)"
This menu deals with fixing some problems with MIDI,
Pressing (Off=Both) will allow you to select three modes; (Off=both), (Off=zero) or (Off=Off). These refer to what the
H3000 recognizes as a note off command in MIDI. Some synths send a MIDI Standard Note Off command (with a release
velocity). Some synths send a Note On command with an attack velocity of zero. There have been reports of naughty synths
that send both. For most tone generators and synths, receiving this is not a problem. With the H3000 it may be a problem
with controllers that use keys. If you are experiencing "weirdness" with some of the controllers, setting this to something other
than "Both" might help. What you select is what the H3000 will recognize. Don't select Both if you know your synth sends
both. (Off=Off ) means a bona fide Note Off command. (Off=Zero ) is a Note On with Velocity Zero. Of course
(Off=Both) means that it will recognize either, and for most synths you won't have to bother with this function.
Pressing (Bank=SyX) will change the soft key to (Bank=Par). This is a fix so you can use the H3000 with old sequencers.
When you are sequencing and you load a program, the H3000 will send out a bank select command, and then a program load
command. At the time of writing, the proposed method for doing a bank select uses MIDI Universal System Exclusive
message. Most sequencers should be able to record and playback this message. However, since this is recent, some older
sequencers will not since they ignore all System Exclusive messages. (There was a time when there were no Universal ID's.)
To fix this problem, we have provided the ability for the H3000 to send out its bank select as a Non-Registered Parameter
Change. Since this is a bunch of controller commands, just about every sequencer can record them and play them back. When
the softkey is (Bank=Par), the H3000 will send out the bank select as a parameter change. The H3000 will respond to either
message.
Note: The System Exclusive bank select will probably be MIDI Standard. This is what you should be using to keep your
system modern”.
Appendix B 30
Appendix C - MIDI Sequencing Details
MIDI Parameter Numbers
The H3000 uses the MIDI parameter system to do sequencing and controlling. This system uses certain controllers to specify
parameter numbers and data. Two controllers are the MSB and LSB of the data value to be written into the parameter.
Another two are used to define a Registered Parameter. This is a parameter that all of MIDI-dom has decided will have this
function. Another two controllers are for non-registered parameters. These are not defined as any specific function. They can
change and vary with application. Further, two controllers are used to increment and decrement the data value of the
parameter.
The H3000 only uses non-registered parameters and does not support the data increment and decrement functions. The actual
parameter numbers vary depending on what application program is running on the H3000. Another detail is that contrary to
the MIDI spec, the parameter is only changed when the LSB of the data value is received. This was necessary in order to
prevent glitches in the parameter value from being heard.
When a parameter 1s changed, the following message is put out (one line per byte).
Controller at the base channel
Controller number 99
The MSB of the non-registered parameter number
Controller at the base channel
Controller number 98
The LSB of the non-registered parameter number
Controller at the base channel
Controller number 6
The MSB of the data value
Controller at the base channel
Controller number 38
The LSB of the data value
It should be mentioned that LSB and MSB actually refer to 7 bit bytes. The two are combined to form 14 bit numbers. The
H3000 goes even further and considers the 14 bit data value to be two's complement in that if the highest bit of the MSB is
high, then the number is negative.
The actual parameter numbers will vary according to the program running on the H3000. You will find this information in the
section dealing with the appropriate program.
There are some parameters’ numbers that will always be the same, These are for the system.
Left input attenuator is 8192 (2000H)
value 1s from 0 (on) to -48 (off)
Right input attenuator 1s 8193 (2001H)
value 1s from 0 (on) to -48 (off)
Left output attenuator is 8194 (2002H)
value is from Ô (on) to -48 (off)
Right output attenuator is 8195 (2003H)
value is from Ô {on) to -48 (off)
Appendix C 31
Bypass relay 1s 8196 (2004H)
value from 0 (bypassed) to 1 (through the H3000)
Program Bank number 1s 8197 (2005H)
value from 0 to 10
{ À through 9 is first digit of H3000 program number, 10 is last edit )
Soft Function 1 scaler is 8208 (2010H)
value from -5000 to 5000 ( 50 * displayed value )
Note: due to limitations in MIDI, this is 1/2 the resolution of which the knob is capable.
Soft Function 2 scaler 15 8209 (2011H)
value from -5000 to 5000 ( 50 * displayed value )
Soft Function 3 scaler 1s 8210 (2012H)
value from -5000 to 5000 ( 50 * displayed value )
Soft Function 4 scaler 1s 8211 (2013H)
value from -5000 to 5000 ( 50 * displayed value )
Soft Function | trigger is 8212 (2014H)
any value will trigger
Soft Function 2 trigger is 8213 (2015H)
any value will trigger
Soft Function 3 mgger is 8214 (2016H)
any value will trigger
Soft Function 4 trigger is 8215 (2017H)
any value will tngger
C
Function Generator type 1s 8216 (2018H)
value O through 20 ( type position as scanned )
Function Generator frequency 1s 8217 (2019H)
value 0 through 2000 ( Hz * 100 )
Function Generator amplitude is 8218 (201 AH)
value 0 to 100 ( displayed value )
Function Generator trigger 1s 8217 (2019H)
any value will trigger
MIDI Program Change
When you are sequencing and you load a program, the H3000 will send out first a Bank Select and then a MIDI Program
Change command. Both numbers form the ID of the program that was loaded. The Bank Select mumber is the first digit (0
through 9) and the Program Change 1s the last two digits (0 through 99). When moving a change of program around with your
sequencer, you must move both commands.
Appendix C 32
When you load Last Edit, a Bank Select of 10 is sent with a program change of 0. The Bank Select is sent one of two Ways.
The proposed MIDI Standard way is a Universal System Exclusive Real Time message. There is also a non-standard way
using a parameter change command (see above). You can select which way you want in the MIDI Expert section.
The standard Bank Select message looks like this:
hex: FO 7F nn 02 01 Oc 00 00 00 00 0b 00 F7
dec: 240 127 Onn 002 001 Occ 000 000 000 000 00b 000 247
where:
nn is the device number ( see MIDI Expert section )
c is the channel number ( O through 15 for 1 through 16 )
b 1s the bank number ( 0 through 10)
If a Program Change command with a number of 100 to 127 is received, then the Bank Number is ignored and program 100
through 127 15 loaded.
MIDI Yolume
MIDI Volume 1s implemented. MIDI Volume is Controller number 7. We only recognize changes with the most significant
byte,
When you first turn on the unit, MIDI Volume is assumed to be full scale. It is then set to a value when a MIDI Volume
message 1s received. The MIDI Volume will scale the Output Levels.
Appendix C 33
Appendix D - MIDI Implementation Chart
Function Transmitted Recognized Remarks
Basic Channel Default 1-16 1-16
Changed 1-16 1-16
Mode Default Mode 2 Mode 2 or 4 ]
Messages X Mode 2 or 4
Altered x
Note Number True Voice X 0-127
Velocity Note On X 0X
Note Off X 0X
After Touch Keys X 0X
Ch's X 0X
Pitch Bender X 0X
Control Change Mod Wheel X 0X 2
Damper Pedal X 0х
Portamento Pedal X 0X
Breath Controller X 0X
Foot Controller X 0X
Expression X 0X
General Purpose 1-8 X 0X
Undefined Small 1-12 X 0X
Undefined Large 1-31
Program Change True Number 0-127 0-127 3
System Exclusive 0X 0X
System Common Song Position X X
Song Select X X
Tune X X
System Real-time Clock X 0X
Commands X x
Auxiliary Messages Local On/Off X X
All Notes Off X X
Active Sensing X X
Reset X X
Mode 1: OMNI ON,POLY Mode 2: OMNI ON,MONO
Mode 3: OMNI] OFF,POLY Mode 4: OMNI OFF, MONO
X: Yes 0: No 0X: Switchable
Notes:
I. Defaults to mode set before power off.
2. Controllers can be patched to selected effects parameters.
3. Program change numbers can be patched to any effects program.
The H3000 uses unregistered parameter change commands to transmit and receive parameter, input/output level and
bypass control commands. This allows the front panel functions to be sequenced with any MIDI sequencer.
Appendix D 34
Appendix E - MIDI Dump Requests
A computer hooked up to the MIDI input port can order the H3000 to perform dumps over the MIDI output port. The
computer can do this by sending messages to the H3000. These message are called System Exclusive messages. In the
beginning of each message are some bytes that are called the leader:
The leader bytes are:
sysex start manuf.ID model code device number route code
FOH (240) ICH (28) 60H (96) xx=dev. num. —O
Device number is selected from the front panel. It is used so that you can have several H3000s connected together.
The route code should always be 0.
After the leader are bytes that tell the H3000 which type of dump to perform. Immediately after the last byte is sent, the
H3000 will start dumping.
DUMP EDIT
This routine dumps the program that is currently loaded.
in hex: 7CH 46H 45H 34H 36H 42H 43H
in decimal; 124 70 69 52 54 66 67
DUMPPRESETS
~ This routine dumps all of the user presets.
in hex: 7CH 46H 45H 34H 32H 43H 30H
in decimal: 124 70 69 52 50 67 48
DUMPPATCH
This dumps the program change patch map.
in hex; 7CH 46H 45H 34H 34H 42H 45H
m decimal: 124 70 69 52 52 66 69
An example of a complete dump request is:
(attention device 1, dump all of your presets)
Hex: FOH 1CH 60H 01H 00H 7CH 46H 45H 34H 32H 43H 30H
decimal: 240 28 96 1 0124 70 69 52 50 67 48
Appendix E 35
Appendix F - Clearing RAM
Under certain rare conditions, the user program memory may become corrupted (from corrupted data dumps, bugs in our
program, etc.) To retum the H3000 to a normal operating state, you may need to clear the memory and begin with a clean
slate. We have provided a way for you to do this.
Beware! This will remove all of your presets. Before doing this, make sure that clearing the memory is absolutely
necessary.
Here 1s the procedure:
1 - Turm off the H3000.
2 - Hold down the "FUNCTION" key.
3 - While holding down the "FUNCTION" key, turn on the H3000.
You will then see this message:
Remove all presets ? |
( Yes ){ No )
Now, if you really want to remove all of your presets, press ( Yes ). Otherwise press ( No ).
Next you will see this:
Reset the Operating System 2
( Yes )( No j
This sets all of the enables, channel numbers, etc. to the way they were when you first got the unit. If you want to do this,
press ( Yes )
The memory should now be clear and the H3000 will restart itself.
Appendix F 36
Appendix G - Tips and Tricks
Loading Programs
To load a specific program, instead of using the knob or up/down keys, simply enter the program number with the keypad.
To load the program press "Load" or press the enter key on the keypad.
Adjusting Contrast
Any time you press the "FUNCTION" key, you will be able to adjust contrast. Nothing on the display will say so, but if the
knob isn't doing anything else, it will adjust contrast.
Editing Names
When you are editing a program or soft function name, the keypad can be used to easily add a number into the name. Just
press the number you want to enter and it will appear on the display. Also, a quick way to get a space is to press "9" and then
press the up arrow.
Good Pitch Shifting
For the best quality pitch shifting, here are some things to consider. Single notes pitch shift best. To shift chords or program
material, set the "Deglitch" settings to a low note range (something like DO through D4). Also, narrow deglitch ranges work
best. To shift a low note, lower the "high note" setting before changing the "low note" setting,
If you are using multiple effects, put the H3000 after any compression or distortion, but before any other effects.
Watch Your Ears
When adjusting feedback or reverb decay, be sure that you know what you are doing. In order to give you the widest range of
effects, we allow you to adjust these parameters to values which might create a constantly increasing sound which could
damage speakers, ears, etc. Usually, you would put a gate on the sound before that happens, but you should know how to do
that before you start playing.
Generally, the danger occurs when you have decay with an "Infinity" sign in it, and when using feedback. Remember that,
depending on the algorithm, feedbacks can add, so you might get problems even when it looks like there isn't that much
feedback.
Control Several H3000s at Once
If you have several H3000s, you can hook them up so they all slave off of one master H3000. Just hook the MIDI OUT of the
master to the MIDI IN of the slaves and enable sequence mode in all of the H3000s. Any program, parameter, level or bypass
changes made on the master will now be made on the slaves.
Appendix G 37
Transferring Presets From One H3000 to Another H3000
By connecting the MIDI OUT of one H3000 to the MIDI IN of another, you can "Dump" a preset, or all the presets from one
H3000 to another. Make sure that the "Device Number" is the same for both units and that (SysX=0n ), (see Appendix B).
To send one preset to another H3000, first load that preset. Then go the dump menu and press (DumpEdit). The program is
now the current preset in the other machine. Now on the other machine, save the preset. The preset is now in the other
H3000,
A word of caution... If you press (Dump Pre), all of the presets from one H3000 will be sent to the other. Any presets in the
receiving H3000 will be wiped out.
Selecting Modulation Sources
When patching modulation to parameters, instead of scrolling through the long list of modulation sources, you can use the
keypad to quickly get you close to where you want to be. Pressing a number on the keypad will get you to a certain area in the
list. For example, pressing 0 will get you to the beginning of the list, pressing 9 will get you to the end of the list, and pressing
5 will get you into the middle.
FM from the Function Generator?
If you look at the list of modulatable parameters in the "Patch" section, at the end of the list you will see parameters for the
Function Generator. By experimenting with modulating the Function Generator with itself, you can get some interesting
results. Make sure that the Function Generator's amplitude or frequency parameters never go to zero. In that case, the
function generator will stop.
Appendix G 38
Appendix H - Version 2.X Enhancements
This version of the H3000 software contains many new features and some changes. Here is a brief description of what is new
for this version:
Modulation of effect parameters has been expanded to include new MIDI modes and to take advantage of the new built in
function generator and user-definable knobs.
We've included an on-board function generator that can be used to modulate most effects parameters. The function generator
offers a variety of waveforms (sine, triangle, square, sample and hold, noise) and corresponding one-shot triggered waveforms.
You can now define your own effects parameters. The first page of the "FUNCTION" menu is dedicated to these "soft
functions”. Most of the factory programs have been modified to take advantage of this . Remember, press "FUNCTION" to
get to the most relevant effect controls
Most programs will now allow you to store and recall input and output levels with the presets, but still retain master level
control over the unit.
Data compression 1s now used when user presets are stored. This allows many more presets to be saved. Also, now you can
find out how much room is left for presets.
We've implemented MIDI bank select (to allow seqencing of any program change, not just programs 0 through 127). Also,
MIDI volume control has been implemented.
Appendix H 39
Warranty Information
IMITED W Y
and other legal stuff, terms and conditions
The H3000 is built to exacting quality standards, and should give years of trouble free service.
H you are experiencing problems which are not cleared up (or explained as normal) in this manual, your recourse is this warranty.
HAT THE WARRANTY D AND DOES NOT R
The H3000 is warranted for a period of one year against defects in material and workmanship. During this period we will repair or replace (at our opiion) the
unit
This means that if the unit fails under normal operation, because of parts that become defective, or because of defects in construction that later become apparent,
(such as bad solder joints, PC traces, eic.,) we will repair the unit at no charge for parts and labor. We also assume a limited responsibility for shipping charges, as
detailed below.
The warranty DOES NOT COVER damage or defects due to accident or abuse. The H3000 is a complex piece of equipment that does not react well to being
dropped. bounced, crushed, soaked or exposed to excessively high voltages. If the unit becomes defective for these similar or causes, and the unit is deemed to be
economically repairable, we will repair t and charge our normal rates.
It DOES NOT COVER shipping damage, either to or from Eventide. If you receive a new unit FROM US in damaged condition, notify us and the carrier; we
will arrange to file an insurance claim and either repair or exchange the unit.
If you recerve a new unit FROM A DEALER in damaged condition, notify them and the carrier.
If WE received the unit FROM YOU with apparent shipping damage, we will notify you and the carrier. In this case, YOU must arrange (o collect on any
insurance. We will await your instructions on how to proceed with the unit, but will charge for all repairs on damaged units.
WHO IS COVERED UNDER THE WARRANTY
The warranty applies to THE ORIGINAL PURCHASER from an AUTHORIZED EVENTIDE DEALER, providing that the dealer sold a NEW unit, DEMO
units are also covered under warranty under slightly different circumstances (see below), and units that are USED, or have been used as part of a rental program,
are NOT COVERED under any circumstances.
It is your responsibility to prove or to be able to prove that you have purchased the unit under circumstances that effect the warranty. A copy of your purchase
invoice is normally necessary and sufficient for this.
if you have any questions about who is an AUTHORIZED EVENTIDE DEALER, call us.
UNITS WITH THE SERIAL NUMBER PLATE DEFACED OR REMOVED WILL NOT BE SERVICED.
WHEN THE WARRANTY BECOMES EFFECTIVE
The one-year warranty period begins on the day the unit is purchased from an authorized dealer, or, if the unit is drop-shipped from Eventide, on the day shipped,
plus a reasonable allowance for shipping delays. This applies WHETHER OR NOT YOU RETURN YOUR WARRANTY FORM.
When we receive a unit, this ts how we determine whether it is under warranty:
В IF the unit was shipped within the past CALENDAR YEAR, we assume that it is, unless there is evidence to the contrary, such as its having been sold
used, rented, etc.
2: IF the unit was shipped LONGER THAN A CALENDAR YEAR AGO, we assume it ISN'T UNDER WARRANTY UNLESS:
A: There is a warranty form on file showing that it has been purchased within the past year under appropriate conditions.
B: You send a copy of your purchase invoice indicating warranty status along with the unit.
3: If the unit was used as a DEMO, the warranty runs from the date that it was received by the dealer. The original purchaser gets the unexpired portion
of that warranty.
When you send a unit for repair, you should indicate whether or not you believe it to be under warranty. IF YOU DO NOT SAY SO, AND WE CHARGE YOU
FOR THE REPAIR, we will NOT REFUND unless the charge was caused by an error on our part. If you believe the unit to be under warranty and you DO SAY
SO, but WE DISAGREE, you will not incur any charges until the dispute is resolved.
40
Reading the above, you can see that it is to your advantage to send in the warranty form when vou purchase the unit. Also, if we know who you are, we can send
you updates, notifications, and advise you of new products. It will also enable you to receive pre-shipment of parts discussed below.
PERFORM A Y RK
The ONLY company authorized to perform work under this warranty is EVENTIDE, Little Ferry, NJ. While you are free to give it to anyone, (or to work on it
yourself), we will not honor claims for payment for LABOR or PARTS from you or from third parties.
HOWEVER, we and our dealers do try to be helpful in various ways:
e Our dealers will assist, usually without charge during the warranty period in:
A: Determining whether there IS a problem requiring retum to the factory.
B: Alleviating "cockpit error" or interconnection problems that may be preventing the gear from operating to its full capability.
2: We are available for telephone consultation if the dealer is unable to assist.
3: If a part fails during the warranty period, and you wish to replace it yourself, we will normally ship the part immediately at no charge providing your
warranty form is on file. (We reserve the right to request that the defective part be returned.)
RESPONSIBIL R WARRANTY- IP
For us to work on your unit, it must be here. Shipping suggestions are given below. This section details who pays for it all.
HIPPIN IT THE 50 TED ST
You are responsible for getting it to our door at no cost to us. We cannot ACCEPT COD or COLLECT SHIPMENTS.
We will return it to you PREPAID, at OUR EXPENSE, using an expeditious shipping method, normally United Parcel Service. In areas not served by UPS we
will ship by US Mail.
If you are in a hurry, and want us to use a PREMIUM SHIPPING METHOD (such as air express, next day air, etc.,) be sure you tell us so, and agree to pay
shipping charges COLLECT. If you specify a method that does not permit collect or COD charges, remit sufficient funds to prepay shipping.
SHIPPING OUTSIDE THE UNITED STATES
if you purchased the unit from a dealer in your country, consult with them before returning the unit.
If you wish to return it to us, please note the following:
|; The unit must be PREPAID TO OUR DOOR. This means that you are responsible for all shipping charges, INCLUDING CUSTOMS
BROKERAGE. When a unit is shipped to us it must be cleared through United States Customs by an authorized broker. YOU MUST MAKE
ARRANGEMENTS for this to be done. Normally your freight forwarder has a branch in the US which can handle this transaction. We CAN arrange
to clear incoming shipments for you. If you want our assistance you must NOTIFY US BEFORE SHIPPING GOODS for repair, giving full details of
the shipment, and including a minimum of $250.00 in US funds to cover the administrative and brokerage expenses. Any balance will be applied to the
répatr charges, or refunded. If a balance is due 10 us, we will request a further prepayment.
2: ALL SHIPMENTS WILL BE RETURNED COLLECT. If this is impossible because of shipping regulations, or money is due us, we will request
prepayment from you for the appropriate amount.
3: All funds must be in $US. Payment may be effected by checks drawn on any bank in the US, or by telegraphic fund transfer to our bank. If you send
US Currency, be sure that it is sent by a method you can trace such as registered mail. If you wish to pay by Letter of Credit, be sure that it affords
sufficient time for work to be performed and the L/C negotiated, and that it is free from restrictive conditions and documentation requirements.
4: WE RESERVE THE RIGHT TO SUBSTITUTE FREIGHT CARRIERS. Although we will attempt to honor your request for a specific carrier, it is
frequently necessary to select a substitute because of difficulties in communication or scheduling,
41
Algorithm ........ 8, 11-13, 37, 44, 45, 48, 50, 52, 54, 56, 57, 59, 60, 62, 65, 66, 69, 70, 72, 74, 76, 77, 81, 82, 85, 87, 89,
92, 95, 97, 99, 102, 106-110, 116, 117, 155
Amount ........... 11, 13, 14, 17, 24,25, 41, 46, 48, 50, 52, 54, 55, 62, 63, 72, 74, 75, 79, 81, 82, 85, 89, 90, 93, 96, 99,
100, 109, 110, 112, 113, 117-122, 164-167, 169, 170, 172, 180, 194, 195
Bank aaa edra A A AAA AAA 19-21, 29, 30, 32, 33, 39, 41
Base ....... aerea aaa ani ceci) da€ encara, 13, 19, 28, 31, 44, 105
Bypass ....... LL ALL A A A AR A A NA A A AA NA A A ANA ANA ANR o, 2, 8, 21, 29-31, 34, 37
Channel ............ 7,19,26,28,29, 31, 33, 34, 36, 45, 46, 48, 50, 53-55, 57, 58, 65, 66, 72, 73, 76, 79, 87, 89, 99, 100,
103, 105, 109, 112, 117, 121, 159, 160, 162, 178, 183, 192, 193, 196
(Сеат... . eaaa a enen aa naa AR AAA 20, 36, 41
Control ........ 1, 3, 4, 8, 12-14, 16-18, 21, 24, 25, 34, 37, 39, 46, 50, 52, 54-60, 62, 64-66, 68, 69, 72, 74, 75, 77, 79.86, |
88-93, 96, 97, 100-105, 108-113, 116-121, 155-157, 164, 166, 168, 172, 174, 179, 186, 187, 193-199
CXL 11121111 LA LA AAA AAA dd AA A A AA AA A NA A A AA enzo erre men ro an, 2,9
Device Number «ooo A NA A A AAA A ALL 33, 35, 3
Dump ...... 1 LL A ALL ALL A NN AR 4 A NN AA A A A A A RAA AR LR rn, 17, 21, 22, 29, 35, 38
Dynamic . 1101100 Le LL A AN LL AA AR AL 6, 109-112, 117-120, 155, 194, 195
Editing 1111111022 LA A 4 AR A A NAN NA LA LR AR A A RAA AA NL 7-10, 12, 14, 37, 102, 104
EditName 1.111200 1211 LL LL LA AAA AN A AA NA NA A A AN NL A erre. 10
Enabled 1.110000 aaa aaerecearea có a ac 1 16, 19-21, 64
DEE оо вевуоыю 29
Expert ........... 9, 19, 22, 23, 29, 30, 32, 33, 46, 49, 51, 53, 57, 60, 63, 66, 70, 73, 75-80, 82, 83, 86, 88, 90, 93, 97, 99,
100, 105, 113, 121
Function Generator ........ aaa arado, 2, 12-14, 26-28, 32, 38, 39, 87, 110, 119, 187, 188
Function ........ 2, 7,9, 10, 12-15, 19, 20, 22, 26-32, 34, 36-39, 57, 60, 87, 104, 107, 109, 110, 112, 117, 119, 120, 159,
177, 183, 187, 188
DÍO a aeneca e erere arnes Aa erereredóooao, 7, 10, 11,17
Levels ........ 2, 4-9, 20, 33, 39, 46-49, 51-53, 55, 57, 58, 60, 61, 63-66, 69-73, 75, 77, 78, 83, 86, 88, 90, 91, 94, 96, 97,
101, 113, 121, 194, 195
Load... LL Aa 2, 1,8, 11, 12, 17, 19, 20, 23, 30, 32, 37, 38, 113, 115, 121, 124, 176, 192
Map ANA AAA Aaa e Rea aa eeneedeo a aneo, ar 19-22, 35
MIDI-Mon 1110000 4 LL LA AAA AAA RAA A AA A RAA ARR A A A AA 10 29
MIDI Volume arar arre creada rra 33,39
MIDI... 2, 1-3, 12-14, 17-35, 37-39, 44, 48, 50, 52, 54, 56, 59, 70, 92, 93, 95-100, 102, 104, 105, 109, 113, 117,
121, 157, 158, 160, 161, 175, 187-189, 193, 196, 197
ModReset ........ L LA A RAA A A A AA AN A NA A AR AN A AAA AA aerea 16
Name Ñan aadedrededenanoa 2, 8, 10, 14, 20, 23, 26-28, 37, 46, 57, 158, 160, 163, 179, 182
New Name ....... aaa aa een aC) era aaa AA 10
Number .......... 2, 8-10, 13, 17, 19, 20, 24-29, 31-35, 37, 38, 40, 44, 56, 59, 60, 62, 65, 68, 97, 107, 110, 117, 118, 188
0-1 RER 19, 28, 34
Опр RER 7,8, 11
Parameter ..... 2,7-10, 12-14, 16-18, 21, 24-27, 30-32, 34, 37, 44, 46, 47, 49, 51, 53, 54, 56-60, 62-69, 74-80, 82-88, 90-
97, 99-101, 103-106, 108-114, 116-122, 160, 161, 177, 182, 186, 189, 196
Parameter Modulation 1.120104 LA LA RAA A A A A4 A A AR A AN RAA LA 9, 12, 16, 17, 24
Patch... 1, 12-14, 17, 19,21, 26, 27, 35, 38, 74, 76, 78, 96, 100, 107-109, 111, 113, 114, 116, 120-122, 153, 156,
162, 164-177, 179, 180, 183, 185-187, 191-193, 197-200
CE e N 12, 13
Program ........ 1,2,7-12, 16-22, 26, 27, 30-40, 45, 49, 58, 65, 77, 81-85, 87, 89-91, 103, 107, 113, 121, 124, 155, 156,
159, 161, 162, 164-173, 177-180, 182-187, 189
Range ................... 4, 6,9, 12-14, 19, 24-26, 37, 48, 49, 51, 75, 80, 82, 89, 97, 102, 109, 117, 155, 167, 172, 186
Rate ..................... 6, 14, 17, 26, 57-60, 64, 77, 79, 80, 97, 99, 100, 114, 122, 164-170, 172, 177, 186, 193, 195
42
Remove aade arde earn erre 2, 5, 11, 36, 109
Sample... aaa a aoarerererorrdeere io, 39, 64, 86, 102-106, 114, 122, 192
Save 1.112 LL LL AN LL NA AA AA a aerarrerrrrerceden, 2, 7, 10, 11, 21, 38, 83, 98, 106
Select ...... AL LL LA LL 3, 7, 10, 12-15, 20, 25, 29, 30, 32-34, 39, 41, 78, 79, 83, 103, 113, 122
Sequenced 1.111110 LA LL LA AAA A Ad AA AAA AAA rrrrroreerereeo rara, 17, 18, 21, 34
Sequencmg ......2.11111 LL LA LIL A A LA AA RE 17, 20, 21, 30-32, 44, 59
SoftFunc . oo eee La aa LL LA AA A AN A earererererererear rr 12, 14
Soft Functions .. area LE 9, 12, 13, 26-28, 39
SOUICE rededor 3,12, 13, 47, 49, 51, 53, 62, 63, 76, 80, 81, 85, 89, 90, 103, 170, 180, 182
SY SK LL AAA AAA AAA A AAA LR A AR AAA A AN 29, 38
Trigger .......... 13, 14, 27, 28, 32, 62-64, 77-79, 100, 103, 105, 111, 114, 119, 123, 168, 172, 177, 179, 195, 198, 199
Update ea aaanecas a aaanerdor raro 10, 11
43
The Algorithms
There are many factory programs resident in the H3000. These programs are based a smaller number of algorithms. An
algonthim 1s the digital signal processing equivalent of an analog circuit, such as a compressor, an equalizer, or an analog
delay.
Each of these algorithms is versatile enough to give a wide variety of sounds. Our factory programs are just a starting point for
your own imagination.
The following section describes each of the algorithms and their associated softkey-selected parameters. A list of the factory
programs and their base algorithms is provided at the end of the manual.
Each parameter listed is preceded by a parameter number. These numbers are used for MIDI sequencing.
The Factory Programs 44
Algorithm 100 - Diatonic Shift S + SE - B + B+ - B/LT + D/SX - D/SE + 3500
Description
This 1s the most musically useful, real-time, pitch shifter algorithm. Set the H3000 to any key signature or your own
scale or harmonic pattern and play in tune in that key. Pick the right and left voice harmony intervals and now we've
got harmony that stays in key. Need an example? With a conventional pitch shifter you set up a harmonic interval and
are locked into that harmony with every note played. If that interval is a Major 3rd up and you're playing in the key of
C 1t will always harmonize a Major 3rd. That works great for the notes C, F and G, but what about D, E, A and B?
Wrong notes, plain and simple. Those notes require a minor 3rd harmony, Diatonic Shift gets that straight. You define
the harmonies and the H3000 tracks your pitch and plays the correct notes.
This is a mono-in stereo-out program with up to one second of delay, mix and feedback on each channel. There are
two user defined harmonic patterns and many pitch tracking parameters to optimize pitch shifting.
Block Diagram
Left Feedback
—¥ Left Voice —e— Left Output
LEÍ Inpul-
Y Y — ЕО .
TT ' o Pitch
car Delay red Tracking
A A UA :
Right Mmput ——— | В
еж
— Right Voice —e—p Right Output
Right Feedback
Parameters
#5 Left Voice see listing below Modulation
#6 Right Voice see listing below Modulation
These are the harmonic intervals that the left and right output channel will produce. The standard intervals are all
represented as + or - + is above the input note and - is below it. Other selections are 'lo ton ped' and ‘hi ton ped'
which are short for low and high tonic pedal. That simply outputs the tonic note of the key either above (high) or
below (low) the note played in. 'Hi dom ped' and "lo dom ped' work the same way only the harmony note is the
dominant interval (fifth) of the key. User defined scales 1 and 2 are also available but we'll describe them later. Here
are all the choices:
-octave +second lo ton ped
-seventh +third lo dom ped
-sixth +fourth hi ton ped
-fifth +fifth hi dom ped
-fourth +sixth scale 1
„third +seventh scale 2
-second +octave umison
The Factory Programs 45
#35 Quantize on or off
This parameter tunes the output to the nearest even-tempered interval. It corrects pitch. If the H3000 is tuned to A-
440 with the Right Voice set to unison an out of tune A at the input (447 for example) will produce a pitch-corrected
A-440 at the right output. It corrects both channels at once. Therefore, if the Left Voice was set to +fifth the
resulting fifth from the A-447 would be an in tune E-659.255. Quantizing is normally off, Pressing the softkey will
change it to on. Press it again to change back to off.
#7 Delay 0 to 1000 milliseconds Modulation
This adjusts the time between the input signal and the affected output signal. Both channels adjust together in 1/1000
of a second steps up to one second.
#0 Left Mix 0 to 100 per cent Modulation
#1 Right Mix 0 to 100 per cent Modulation
The Left Mix level is the balance between the original or dry signal and the effect or wet signal at the left output. A
50% mix will result in equal levels of dry and wet sound.
#2 L Feedback 0 to 100 per cent Modulation
#3 R Feedback 0 to 100 per cent Modulation
Thus will control the amount of feedback from the left output to the input. With unison pitch shift it works like a
normal digital delay. With pitch shift, in-key arpeggios can be created. This sounds great (interesting anyway) with
long delays. Both night and left channel feedback are returned to the same point. High settings of both feedback
levels could cause unstable output conditions. Some people like that sort of thing and some don't.
Tune -50 to +50 cents
In order for the Diatonic Harmonizer to work properly the instrument or voice signal coming into it must be in tune
with the H3000. Tuning can work two ways. The H3000 can be tuned in cents to the tuning of the signal coming in
as long as that is within a quarter tone (50 cents) of A-440. Or you can tune to the H3000's A-440. Once you're
tuned, the correct notes will be displayed in "Shownote". To tune the H3000 to your instrument, press "Tune" and
then play any note on your instrument. While playing the note, press "Enter". The H3000 is now tuned.
Shownote (not adjustabie)
This parameter only displays the pitch of the note played into the H3000. It ts displayed as note name and octave
where middle C is C5,
#4 Key (see listing below)
This parameter sets up one of the twelve standard key signatures. Remember your music theory: Those twelve keys
can work as Major, relative minor or the 5 other modes (dorian, phrygian, lydian, mixolydian or locrian). Here are
the available keys:
CCF DD#EFFGGAAR
Expert Mode Parameters
#11-22 Scale 1 set using "Note" and "Interval"
#23-34 Scale 2 set using "Note" and "Interval"
Note see listing below
This 1s where the user scales and harmonies are created. The twelve chromatic notes are listed under Note 1. Turn the
knob or use the up/down buttons to get each note. This pattern will be selected under Scale 1 found in the L Voice or
R Voice parameters. The notes listed are parameter numbers 11 through 22.
C Db D Eb E F Gb G Ab A Bb B
The Factory Programs 46
#8
#9
#10
Levels
#11
#12
#13
#14
Hint:
The Factory
Interval ~2400 to +1200 cents
This key selects the harmonic interval between the note selected in Note 1 and the harmony that the H3000 will play.
For example, 1f you set C = +300 cents and D = +500 cents when you trill between C and D the H3000 will trill
between Eb and G. On any note, if no harmony is desired simply set that interval to 0 cents.
Low Note 9 Hz to C7
This 1s used to optimize the pitch shifter for the best possible performance (i.e. smallest delay, smoothest pitch shift).
Set this for the lowest note you reasonably expect to pitch shift. (Important: The lower this note is set to, the longer
the delay of the pitch shifter.)
High Note C4 to C8
For the same reasons given above, set this to the highest note you reasonably expect to pitch shift.
Source polyphonic- * -solo
The Source parameter is another parameter that optimizes pitch shift performance. Polyphonic or solo relates to the
input source. The star will move right or left when the knob is turned. Set it to solo for a monophonic input source
and adjust it toward polyphonic for the best sound with polyphonic input sources.
Left In -48 to 48 dB
Right In -48 to 48 dB
Left Out -48 to 48 dB
Right Out -48 to 48 dB
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here
are added to or subtracted from the "master" levels. See the levels section in "Running the H3000" for further
information.
The presets using "Just" intervals refer to just intonation.
Programs 47
Algorithm 101 - Layered Shift S + SE - B + B+ + B/LT » D/SX + D/SE + 3500
Description
This algorithm uses the left input to create two separate pitch shifted outputs. The range of the shifters is up one
octave and down two octaves (and, of course, any ratio in between). The right and left outputs are able to use any
combination of these. The result... instant 3 part harmony. Parameters for each pitch shifter are independently
controlled and MIDI capable.
Block Diagram
Left Feedback
; | :
— L Delay ve» Left Shift » Left Output
Left Input -——— - | | о
x x >
оч = a , Dealitch
x ,
Right Input ———
|: Y
—p R Delay —e— Right Shift —e— Right Output
a 1
Right Feedback
Parameters
#4 1. Coarse, Fine -2400 to 1200 cents Modulation
#6 R Coarse, Fine -2400 to 1200 cents Modulation
This controls the pitch shift at the left output. The pitch shift is given in cents, where 100 cents is equal to an interval
of one semitone (one half-step). Negative cents corresponds to a transposition down while positive is up. Zero cents
1s no pitch shift. The knob and up/down buttons will change the amount of pitch shift in 100 cent increments. Play or
sing a constant pitch and turn the knob. You will hear a chromatic scale.
#5 L Delay 0 to 1000 milliseconds Modulation
#7 R Delay @ to 1000 milliseconds Modulation
This sets the length of time between the input signal and the pitch shifted output for the left pitch shifter. The time is
given in milliseconds (1/1000th of a second).
#2 L Feedback 0 to 100 per cent Modulation
#3 R Feedback 0 to 100 per cent Modulation
This controls the amount of feedback from the left output to the input. With zero pitch shift this is like a normal
digital delay. Use with pitch shift and delay to get arpeggiation. Use without delay to get wild pitch smears, Use it
in subtle amounts with small pitch shifts to get fat sounds. Note that both right and left channel feedback are returned
to the same input point. This means that high settings on both feedback levels could cause unstable output conditions.
The Factory Programs 48
#0 L Mix 0 to 100 per cent Modulation
#1 R Mix 0 to 100 per cent Modulation
The mix levels are the balance between the original or dry signal and the effect or wet signal at the left and right
outputs. A 50% mix will resuit in equal levels of dry and wet sound.
#11 Sustain on or off
The Sustain key will "loop" one pitch period of the input signal much like a sampler. Pressing the softkey will turn
off the input and begin endlessly playing the loop. Pressing it again will restore normal operation. While sustaining
something try changing the delay setting through its range. The result is a strange rendition of the 1.5 seconds of
audio that was in the H3000's memory just before Sustain was pressed.
Expert Mode Parameters
#8 Low Note 9 Hz to C7
This 1s used to optimize the pitch shifter for the best possible performance (i.e., smallest delay, smoothest pitch shift),
Set this for the lowest note you reasonably expect to pitch shift. (Important: The lower this note is set, the longer the
delay of the pitch shifter.)
#9 High Note C4 to C8
For the same reasons as given above, set this to the highest note you reasonably expect to pitch shift.
#10 Source polyphontic- * -solo
The Source parameter is another parameter that optimizes pitch shift performance. Polyphonic or solo relates to the
input source. The star will move right or left when the knob is turned. Set it to solo for a monophonic input source
and adjust it toward polyphonic for the best sound with polyphonic input sources.
Levels
#12 Left In -48 to 48 dB
#13 Right In -48 to 48 dB
#14 Left Out -48 to 48 dB
#15 Right Out -48 to 48 dB
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here
are added to or subtracted from the "master" levels, See the levels section in "Running the H3000" for further
information.
Hint: This is a real work-horse program for instrumentalists and vocalists.
The Factory Programs 49
Algorithm 102 - Dual Shift S + SE + B - B+ + B/LT + D/SX + D/SE + 3500
Description
Algorithm 102 gives you two completely separate pitch shifters. One pitch shifter uses the left channel input and
output while the other uses the right channel. Each pitch shifter has independent control over pitch, delay, feedback
and mix. These parameters are also MIDI controllable.
Block Diagram
Left Feedback
и
“al
> — 3 4 |
TT | ; i
Left Input — > + j—4 IL Delay +r Left Shift + Left Output
Lo a mari armas ma | =
; Deglitch
Hight Input —# - ——> RK Delay —e—# Right Shift — Rızht Output
Righl Feedback
Parameters
#4 Left Coarse, Fine -2400 to 1200 cents Modulation
#6 Right Coarse, Fine -2400 to 1200 cents Modulation
This controls the amount of pitch shift applied to the left input. The pitch shift is given in cents, where +100 cents is
equal to a transposition up by one semitone (one half-step). Negative cents corresponds to a transposition down.
Zero cents corresponds to no pitch shift. The knob and up/down buttons will change the amount of pitch shift in 100
cent ircrements. Play or sing a constant pitch and tum the knob. You should hear a chromatic scale.
A
Left Delay 0 to 500 milliseconds Modulation
#7 Right Delay 0 to 500 milliseconds Modulation
This sets the length of time between the input signal and the pitch shifted output for the left pitch shifter. The time is
given in milliseconds (1/1000th of a second),
#2 Left Feedback 0 to 100 per cent Modulation
#3 Right Feedback 0 to 100 per cent Modulation
This will contro! the amount of feedback from the left output to the left input. With zero pitch shift this is like a
normal digital delay. Use with pitch shift and delay to get arpeggiation. Use without delay to get wild pitch smears.
Use 1t in subtle amounts with small pitch shifts to get fat sounds.
The Factory Programs 50
#0
#1
#11
Left Mix 0 to 100 per cent Modulation
Right Mix 0 to 100 per cent Modulation
The left mix level is the balance between the original or dry signal and the effected or wet signal at the left output. A
50% mix results in equal dry and wet sound.
Sustain on or off
The Sustain key will "loop" one pitch period of the input signal much like a sampler. Pressing the softkey will tum
off the input and begin endlessly playing the loop. Pressing it again will restore normal operation. While sustaining
something try changing the delay setting through its range. The result is a strange rendition of the 1.5 seconds of
audio that was in the H3000's memory just before Sustain was pressed.
Expert Mode Parameters
#8
#9
#10
Levels
#12
#13
#14
#15
Hine:
Low Note 9 Hz to C7
This is used to optimize the pitch shifter for the best possible performance (i.e, smallest delay, smoothest pitch shift).
Set this for the lowest note you reasonably expect to pitch shift. (Important: The lower this note is set to, the longer
the delay of the pitch shifter.)
High Note C4 to C8
For the same reasons as given above, set this to the highest note you reasonably expect to pitch shift. Here are some
typical settings for various uses:
High voice C3 to C6 Bass guitar El to C4
Low voice C2 to C5 Flute C4 to C7
Electric guitar E2 to C6 Trumpet E3 to C7
Source polyphonic- * -solo
The Source parameter is another parameter that optimizes pitch shift performance. Polyphonic or solo relates to the
input source. The star will move right or left when the knob is tumed. Set it to solo for a monophonic input source
and adjust it toward polyphonic for the best sound with polyphonic input sources.
Left In -48 to 48 dB
Right In -48 to 48 dB
Left Out -48 to 48 dB
Right Out -48 to 48 dB
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here
are added to or subtracted from the "master" levels. See the levels section in “Running the H3000" for further
information.
For doubling type effects use the fine pitch controls in a + or - 20 cent range.
The Factory Programs 51
Algorithm 103 - Stereo Shift S-SE-B-B+-B/LT + D/SX + D/SE » 3500
Description
The Stereo Pitch Shift algorithm is for operation with true stereo inputs. The unique deglitching takes both input
channels into account without mixing the two audio signals. The shifter maintains stereo imaging and mono
compatibility. Parameters of both channels adjust together to form a great production tool. As with atl H3000
algorithms, the parameters are MIDI controllable.
Block Diagram
Feedback
| A
|
A
Left Input ——# +}
> Left Output
|
: Stereo | Deglitch | Stereo
|
MM Shift
|
a À
Right Input ———» + — — » — >» Right Output
- ; + Г :
не 1 7 I I
dh HE НН ОНННННАНННЕ ; A
|
|
|
|
Feedback
Parameters
H6 Coarse, Fine -2400 to 1200 cents Modulation
The pitch shift of both left and right channels track together. Like other programs the pitch shift is given in cents,
where 100 cents is equal to a transposition up by one half-step. Negative cents corresponds to a transposition down.
Zero cents corresponds to no pitch shift. The knob and up/down buttons will change the amount of pitch shift in 100
cent increments. Play or sing a constant pitch and turn the knob. You will hear a chromatic scale.
#7 Delay 0 to 500 milliseconds Modulation
This sets the length of time between the input signal and the output. Both channels have the same delay.
#1 Feedback 0 to 100 per cent Modulation
This will control the amount of feedback from the output to the input. With zero pitch shift this is like a normal
digital delay. Use with pitch shift and delay to get arpeggiation. Use without delay to get wild pitch smears. Use it
in subtle amounts with small pitch shifts to get fat sounds.
#0 Mix 0 to 100 per cent Modulation
The mix level is the balance between the original or dry signals and the effect or wet signals at the output. A 50%
mux will result in equal levels of dry and wet sound.
The Factory Programs 52
Expert Mode Parameters
#8 Low Note 9Hz to C7
This 1s used to optimize the pitch shifter for the best possible performance (i.e., smallest delay, smoothest pitch shift).
Set this for the lowest note you reasonably expect to pitch shift. (Important: The lower this note is set, the longer the
delay of the pitch shifter.)
#9 High Note C4 to C8
For the same reasons given above, set this to the highest note you reasonably expect to pitch shift.
#10 Source polyphonic- * -solo
The Source parameter is another parameter that optimizes pitch shift performance. Polyphonic or solo relates to the
input source. The star will move right or left when the knob is turned. Set it to solo for a monophonic Input source
and adjust it toward polyphonic for the best sound with polyphonic input sources.
#11 Deglitch Mode ‘Lock to chan. 1' or 'chan. 1 and chan. 2
As above, this is used to optimize pitch shift performance. With a true stereo input this should be set to ‘channel 1
and channel 2’. With a mono signal going into both channels set this to "Lock to Channel 1'.
Levels
#12 Left In -48 to 48 dB
#13 Right In -48 to 48 dB
#14 Left Out -48 to 48 dB
#15 Right Out -48 to 48 dB
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here
are added to or subtracted from the "master" levels. See the levels section in "Running the H3000" for further
information.
The Factory Programs 53
Algorithm 104 - Reverse Shift S + SE « B + B+ + B/LT - D/SX » D/SE + 3500
Description
Things aren't what they seem to be. This algorithm speaks, sings or grunts back to you in reverse with pitch shift.
Two pitch shifters m fact. Add variable splice lengths and feedback to this and the world of bizarre effects (in real
time) takes on new proportions. And all with MIDI control. The Reverse Pitch Shift is a one-channel-in, two-
channels-out algorithm,
Block Diagram
Left Feedback
и
IE
| =
Бей Тары сете
= =
= > — —e
= =
Right Input — |
1 |
—» R Rev, Shift —e—» Right Output
Right Feedback
Parameters
#4 I. Coarse, Fine -2400 to 1200 cents Modulation
#6 R Coarse, Fine -2400 to 1200 cents Modulation
Thus (like the other pitch change algorithms) controls the pitch shift at the left output. The pitch shift is given in cents,
where +100 cents 1s equal to a transposition up by one half-step. Negative cents corresponds to a transposition down.
Zero cents corresponds to no pitch shift. The knob and up/down buttons will change the amount of pitch shift in 100
cent increments.
#5 L Length 0 to 1400 milliseconds Modulation
#7 R Length 0 to 1400 milliseconds Modulation
Think of a tape recorder recording a small length of tape (time) which is set by this length parameter and then playing
it back in reverse while it records the next. The left length is independent of the right and can be 0 to 1.4 seconds, set
in one millisecond (1/1000th of a second) steps. In addition to the reversal, there is also an average delay of 1/2 the
delay setting.
The Factory Programs 54
#2 L Feedback 0 to 100 per cent Modulation
#3 R Feedback 0 to 100 per cent Modulation
This will control the amount of feedback from the left or right output to the input. With zero pitch shift this is like a
backward digital delay. Use with pitch shift and delay to get backward arpeggiation. Note that both right and left
channel feedback are retuned to the same input point. This means that high settings on both feedback levels could
cause unstable output conditions.
#0 L Mix 0 to 100 per cent Modulation
#1 R Mix 0 to 100 per cent Modulation
The Left Mix level is the balance between the original or dry signal and the effected or wet signal at the left output.
A 50% mux will result in equal levels of dry and wet sound.
Levels
#8 Left In -48 to 48 dB
#9 Right In -48 to 48 dB
#10 Left Out -48 to 48 dB
#11 Right Out -48 to 48 dB
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here
are added to or subtracted from the "master" levels. See the levels section in "Running the H3000" for further
information,
The Factory Programs 55
Algorithm 105 - Swept Combs S-SE-B-B+-B/LT - D/SX + D/SE + 3500
Description
Picture six high quality digital delay units racked together; each has 1/4 second delay, modulation control and
feedback; all are patched to a 6 input, stereo mixer. Automation allows simultaneous control over the digital delays
and mixer or separate control over each. All have extensive MIDI control. That is the power of the Swept Combs
algorithm.
Block Diagram
Feedback 1
1
< |
| | Level 1 |
A
| Lo À
| Feedback 2 \
DOE +
|
: Levei 2 \
A pee >
+ Y + — Delay 2 st” >—# Pan 2: E \ ,
| Lo | > `
Feedback 3
>.
— ` >
: a. | \ 4
—. NO
| Lev el gi \ 5
: x. ! ! ——
Leti INPP A oh Delay 3 =n 4 LA me ‘ UT —— Leil Output
— Ls Le La
ВР
Feedback 4 A 7
`` VA
mous sleres
| su i — “ /
= a 1" - . . | | Level 4 Г и a,
a a Delay pen TTT
ment hpi boos mw om oo a Delay 4 > | — Pan 4 = A+ + > Right Outpur
5 7
it
Feedback 5
La . 7
al ñ / En :
FT JT / в 7
| Leve 5: I
+ me + + Delay 5 > -4 Pan Si и
ces =
beret
Feedback в Eo
о /
IR Level 6 /
к = Delay 6 sb 6 /
ho A CENT OR tone per delay,
Parameters
#2 m Delay 0 to 100 per cent Modulation
This parameter is the master control for delay times of each of the 6 delay lines described earlier. Increasing this
number will increase all 6 delay times while decreasing it will shorten them all. Changing this per cent will alter each
delay time proportionally. As an example; if this was set to 100% and Delay 1 was at 40ms, Delay 2 at 70ms and
Delay 3 at 100ms; then changing Delay from 100% to 50% would change Delay 1 to 20ms, Delay 2 to 35ms and
Delay 3 to 50ms. Realize that the displays will not change but the perceived effect will. How to set individual delay
times will be described later.
The Factory Programs 56
#3 m Rate 0 to 100 per cent Modulation
Master Sweep Rate is the ful! name of this parameter. It's the master Sweep rate generator control. Sound complex?
Let's explain what the sweep generator does. Each of the 6 delays has its own sweep generator and that generator
acts as a modulator (synth. fans take note) to the delay time. That means that the delay time can be lengthened and
shortened constantly. Let's call that sweeping. Now the speed at which we sweep is this parameter called Sweep
Rate. The H3000 uses 6 separate sweep generators and the Master Rate controls them all proportionally just as the
Delay parameter described earlier controls delays proportionally.
#8 m Depth 0 to 100 per cent Modulation
This master control affects the "depth" of the individuat sweep generators we Just described. What that really means
is how far the delay changes are allowed to go. Synth. fans will ask, "Is it a sine, ramp or triangle sweep?” Actually,
it's not any of those. The algorithm uses random numbers to achieve a more complex and thicker texture. This
controller is again a Master Depth control and it works proportionally like the others.
#9 m Fdback -100 to 100 per cent Modulation
Feedback is also a Master control parameter. This time it's the 6 feedback levels on the 6 delay lines we're working
with. In general, high feedback settings will give longer recirculation or sustain times. As usual be careful when
using high levels. This Master Feedback control affects all 6 feedback levels proportionally. Changing from positive
to negative feedback will reverse the phase of the feedback.
#10 Width -100 to 100 per cent Modulation
Width is short for image Width. It is also a master controller, This parameter relates to the stereo image or panning,
Each of the six delay lines is fed to a stereo mixer. Each has its own pan location within the stereo image. The
Master Width control is able to change all 6 pans at once. Assuming the 6 Pans are all set at different places, setting
the Master Width at 100% will allow their individual places to stay intact. Decreasing the per cent toward 0 will see
them all move proportionally toward 0 or to center in the stereo image. At 0% all are at dead center. Moving the
control toward -100% will result in an image reversal. Finally, when the control is at -100% all the pans will be
opposite their initial location.
#7 Repeat on or off
The Repeat function instantly captures the audio signal in the H3000 and keeps replaying it. No new sound is
allowed in. Each Delay Time setting determines the repeat length. The master controls all still function, so altering
the sound while it is repeating is possible. Changing the Delay Time with no Glide wilt have the affect of lengthening
(or shortening) the repeat time. Doing this with the Glide On (from the knob) will not only lengthen (or shorten) the
sound but will also change the pitch. This can be lots of fun.
#0 Mix 0 to 100 per cent Modulation
The Left Mix level is the balance between the original or dry signal and the effected or wet signal at the left output,
A 50% mix will result in equal levels of dry and wet sound.
Expert Mode Parameters
#4 Glide Speed 0 to 100 Modulation
This 1s the time it takes the H3000 to respond to changes in the delay time settings. Gliding is what happens when the
delay times are changed drastically. With glide on, large delay time changes will slowly and smoothly change the
percetved audio delay. No noise is created in the output. 100 speed means quick changes and a speed of 0 means
very slow changes.
#5 Glide Enable delay glide on or off
This tums the delay gliding on or off.
#6 Stereo/Mono Stereo or Mono
The Factory Programs 57
The Input Mode in this algorithm becomes very powerful. With it set to mono all 6 delay lines, feedback lines and the
stereo mixer are dedicated to the left channel input signal only. Take the weakest, most dry, thin sound and process it
through the H3000 and ... instant strength, Set the Input Mode to stereo and we have the possibility of two
independent programs. Panning delay lines 1, 2 and 3 left and 4, 5 and 6 right plus the Width control to 100%
assures total independence. Now we have two units with 3 digital delay lines, with feedback and sweeping and a 3
input | output mixer on each channel. That's flexibility.
#23-28 Rates 1-6 0 to 100
Now we've entered a new level of programming on the H3000. Pressing the Rates softkey on the front panel will give
not one parameter to adjust but six. They are labeled Rate 1, Rate 2, Rate 3 etc... Pressing the particular Rate # will
then allow adjustment of that specific Rate. There are six Rate #'s so the first four are displayed at once, then by
pressing the Parameter Key the other two will be displayed. The rates themselves relate to the speed of the delay
sweep which was described under Rates. A Rate of 100 is the fastest while 0 is the slowest,
#17-22 Depths 0 to 100 per cent
This parameter works the same way as Rates only control is of the individual Sweep Depths. The Depths are
numbered 1 through 6 with a Depth of 0 being no perceived sweeping while a Depth of 100 is the maximum.
#11-16 Delays 1-6 0 to 200 milliseconds
These are the six individual delay time adjustments. All are variable from 0 to .200 seconds in 1 millisecond
(1/1000th of a second) steps.
#35-40 Fdbacks 1-6 -100 to 100 per cent
Here are the six Feedback adjustments. As with all feedback, be careful at high levels.
#41-46 Pans -10 to 10
These are the six individual Pan settings for each delay line. A Pan setting of -10 15 hard left, 0 1s center and 10 is
hard right,
1429-34 Levels 0 to 100 per cent
These six independent Level controls are the only ones in this group of parameters that are not under a master control.
What these levels do 1s allow a balance to be achieved between all six delay line outputs. They are the fader controls
on our 6 channel mixer. A setting of 0% turns the level off while 100% turns it fully on.
Hint: Don't be inimidated by the complexity of these adjustments. The program will work just fine using the basic
parameters.
Levels
#47 Left In -48 to 48 dB
#48 Right In -48 to 48 dB
#49 Left Out -48 to 48 dB
#50 Right Out -48 to 48 dB
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here
are added to or subtracted from the "master" levels. See the levels section in "Running the H3000" for further
information.
The Factory Programs 58
Algorithm 106 - Swept Reverb
Description
S*SE-B-B+-<B/LT » D/SX : D/SE + 3500
Imagine this... youre in a large room, a cathedral. There is a wonderful sound ringing through the air (that's your
music), now the room starts to move while you stay still. It moves forward, side to side, up and down then around in
circles and somersaults. The sound swooshes by your ears in all directions. Y our music has taken on spatial
characteristics you never imagined. Such is the H3000 Swept Reverb Network. It is a two input, two output
modulated reverb algorithm with tight contro! over parameters like Feedback, Delay, Rate and Depth. It also has
MID! modulation and sequencing to add unlimited automation to all of this.
Block Diagram
-+ Left Output
+ Right Output
LT |
f Feedbapk | |
A
+ a Delay 1
FT _
| a
o a
+ : I + — '
1 7 > — |
o —-
Po
ER | Feedback
: 1 4 ——
Do .
4 К ho ro) Delay 3 | й
Reverb
Зори | ed |
Leïl Input | i Feedback: Network
Por Mo Po
+ » Deiay 4 1 >
о 0
|
Feedback
E 1 >
$-—— Hi + нее ——— y» Delay 5 — Хэ
НЫ Le
| Feedback
4x oa e]
+ Y Delay 6 het >
— Rid ~ eme
Moms TE A
TT ro
= sweep L-.> xx Delay | |
rea DT ов
Вер! t
|
Sweep Generator {one per delay)
Parameters
#2 m Delay 0 to 100 per cent Modulation
This parameter is the master control for delay times of each of the six internal delay lines. Increasing this number
will increase all six delay times while decreasing it will shorten them all. Changing this per cent will alter each delay
time proportionally. A 100% change here up or down will effect a 100% change in the preset delay time of each
delay line.
#3 m Rate 0 to 100 per cent
Modulation
This is the master sweep rate generator control (like the Swept Combs algorithm). Each of the six delay lines has its
own sweep generator and that generator acts as a modulator to the delay time. That means that the delay time can be
lengthened and shortened constantly (swept). The speed at which it sweeps is this parameter called "m Rate”. This
Master Rate Control works proportionally like others, but affects the Sweep Rates.
The Factory Programs 59
#8 m Depth 0 to 100 per cent Modulation
This Master Depth Control affects the depth of the individual sweep generators we just described. It determines how
far the delay changes are allowed to go. The algorithm uses a random number generator to provide depth. This
creates a thicker texture than conventional sweep generators. This controller is again a Master Depth Controller and
it works proportionally like the others.
#1 Fdback -100 to 100 per cent Modulation
The H3000's internal reverb network uses (like most digital reverbs) some type of recirculation of sound to make the
reverb more or less diffuse. The Feedback parameter is what controls that in this algorithm. Note that this controls
all six values which track together.
#0 Mix 0 to 100 per cent Modulation
The mix level 1s the balance between the original or dry signal and the effect or wet signal. A 50% mix will result in
equal levels of dry and wet sound.
#7 Repeat on or off
The Repeat function holds and keeps replaying the current audio in the H3000. No new sound is allowed in. Fach
Delay Time setting determines the repeat length. The master controls all still function, so altering the sound while it
15 repeating 1s possible. Changing the Delay Time with Glide off will have the affect of lengthening or shortening the
repeat ime. Doing this with the Glide on will not only lengthen or shorten the sound but will also change the pitch.
Expert Mode Parameters
#4 Glide Speed 0 to 100 Modulation
This 1s the time 1t takes the H3000 to respond to changes in the Delay time settings. Gliding occurs when the Delay
time 1s changed drastically on the front panel. With glide on, a large Delay time change will slowly and smoothly
change the perceived audio delay. No pops, crackles or even snaps in the output. 100 speed means quick changes
and a speed of 0 means very slow changes.
#5 Glide En delay glide on or off
This turns the delay gliding on or off.
Note: The next six parameters are found by pressing the Rates softkey and then pressing the parameter key.
#23-28 Rates 1-6 0 to 100
These are the six Rates that control the sweep rate generator already described.
Note: The next six parameters are found by pressing the depth softkey and then pressing the parameter key.
#17-22 Depths 0 to 100 per cent
These are the six Depths that control the sweep rate generator already described.
Note: The next six parameters are found by pressing the Delays softkey and then pressing the parameter key.
#11-16 Delays 0 to 225 milliseconds
These are the six Delays that control the reverb network described earlier.
Hint: As with previous programs, don't be intimidated by all the variables. You need not use them to obtain useful effects.
The Factory Programs 60
Levels
#29 Left In -48 to 48 dB
#30 Right In -48 to 48 dB
#31 Left Out -48 to 48 dB
#32 Right Out -48 to 48 dB
The leve! parameters allow individual presets to alter the input and output levels of the H3000. The levels set here
are added to or subtracted from the "master" levels. See the levels section in "Running the H3000" for further
information.
The Factory Programs 61
Algorithm 107 - Reverb Factory S-SE-B-B+-B/LT + D/SX + D/SE + 3500
Description
The amount of user control over critical parameters in the Reverb algorithm makes the H3000 unique. Along with the
standard Predelay, Decay and Mix parameters comes a switching Gate and tight control over Delay parameters which
change the characteristics of reverb itself. The built in Gate has Response Time and Threshold controls as well as
separate parametric EQ on both the open and closed gate, Two decay times are also provided. Softer sounds (below
the gate threshold) can have one decay time and EQ while loud sounds (above the gate threshold) can have different
decay and EQ.
Block Diagram
Left Cutput
Right Output
|
|
vo ey - > Delay 1
PTS -
Cp) ——F Delay 2 kh y
: : ` — meta! : : ;
; i i : : i
Нот » Delay 3 pecay >
— Lo — ¡ono
: ;
Left Тара к-т + . : | EQ Nobex
E | 1 On/Off
e a... Е Belay 4 A |->
Mos 1 i i !
|
+ pros i |
pe ou Delay 5 H a
———— /
Be = en Delay 6 |. À ——® |
a e o a — =
o] i : i
a + Speed y I > Time I
Lo E (E |
|
Thresho:c
— Gate Contra __ __
Parameters
#1 Predelay ¢ to S00 milliseconds | Modulation
This parameter puts up to 1/2 second of delay on the input signal before reverberation. It can be used to simulate the
size of a room or the distance from the sound source to the walls, ceiling or floor, It is adjustable in one millisecond
steps (1/1000 of a second) from 0 to .5 seconds.
The Factory Programs 62
#2
#3
#4
#0
On Decay «1 to inf.+5 seconds Modulation
Reverb decay time is the length of time the sound continues after the sound source has stopped. In this parameter the
Decay time for the gate on is adjusted. In other words, when a signal is loud enough to open (or trigger) the gate it
will then reverberate for this set length of time. Various Decay Times are available. Some of the delay times are
"infinite". This means that they don't actually decay. In fact, infinite delays with a postive number after them, will
actually increase in volume. Watch your speakers! Using the gate can control this.
Off Decay .1 to inf.+5 seconds Modulation
Off Decay 1s much the same as On Decay except it is the reverb time when the signal is not strong enough to trigger
the gate.
Gate Time 0 to 25 seconds Modulation
The Gate Time is the length of time that the gate will stay open when it has been triggered by a strong enough signal.
The gate on state will then use the On Decay and EQ Open settings. The Gate Time is re-triggerable. If for example,
the Gate Time was set at 20 seconds, a signal triggered it, then after only 7 seconds along came another trigger, the
On Gate Time would begin again at 20 seconds.
Mix 0 to 100 per cent Modulation
The mix level is the balance between the original or dry signal and the effect or wet signal. A 50% mix will result in
equal levels of dry and wet sound. The effect of mixing the dry sound with the wet simulates moving further from
(more wet) and closer to (more dry) the sound source.
Expert Mode, EQ Parameters
Note:
#5
#6
#7
#8
#9
#10
#11
#12
These next 8 parameters are found by pressing the EQ softkey then the parameter key.
On L Freq 50, 100, 200, 400 Hertz
The Low Crossover On point is the frequency, below which we can rol] off the bass response. This parameter affects
the Gate On state (Gate Open).
On Low dB -6 to 0 dB
On Low dB is the amount of rolloff (low frequency attenuation) that will occur up to the crossover point described
above. This will occur in the Gate On state. It is adjustable in one decibel steps from -6dB to 0dB.
On H Freq 2,4, 8, 12 kilohertz
This parameter also effects the Gate On state. It is the frequency above which we can rolloff the high frequencies.
On HidB -6 to 6 dB
On High dB is the amount of rolloff (high frequency attenuation) that will occur above the crossover point described
above. This will occur in the Gate On state. It is adjustable in one decibel steps from -6dB to 0dB.
Off 1. Freq 50, 100, 200, 400 Hertz
Same as On L Freq, but works on the Gate Off state (signal below threshold).
Off Low dB -6 to O dB
Same as On Low dB, but works in Gate Off state.
Off H Freq 50, 100, 200, 400 Hertz
Same as On H Freq, but works in Gate Off state.
Off Hi dB -6 to 0 dB
Same as On HidB, but works in Gate Off state.
The Factory Programs 63
Gate Parameters
Note: The next three parameters are found by pressing the Gate softkey.
#13 Speed 0 to 100
The parameter that controls how fast the gate responds to a strong enough trigger is the Speed. At slow values (near
0) it will take a longer period of the input signal being above the threshold (described below) to trigger the gate. At
fast values (near 100) a quick high level signal will be able to trigger the gate.
#14 Threshold 1 to 100 per cent
In order to trigger the gate, the input level must be higher than the threshold setting. Using a low threshold value
(near 1%) means a low volume signal could trigger the gate. A high value (near 100%) would need a very strong
signal to produce a trigger. Here's an example using drums as the input: Set the Threshold fairly high and the
Response time fast. Now we could have light, ambient type playing all reverberated at long decay times with a darker
EQ (high frequencies rolled off) because the sound stays below the threshold. A strong stam on the snare drum will
open the gate and cut the decay time way down with a brighter EQ.
HIS Enable | Enabled or Disabled
This parameter lets the gate action work (Enabled) or not work (Disabled). If the gate is Disabled the reverb uses
only the Gate On EQ settings.
Delay Parameters
Note: The next six parameters are found by pressing the Delays softkey and then the parameter key.
#16-21 Delays 1-6 0 to 5000 samples
The six Delays are very important to the overall quality of the reverb sound itself. The parameter readout is in
samples. That relates to the 44. 1kHz sample rate that the H3000 uses for audio conversion to digital. This means
that about 44 samples is equal to one millisecond. Changing these numbers gives you personalized, fine control over
the reverb texture. Have fun.
Levels
422 Left In -48 to 48 dB
#23 Right In -48 to 48 dB
#24 Left Out -48 to 48 dB
#25 Right Out -48 to 48 dB
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here
are added to or subtracted from the "master" levels. See the levels section in "Running the H3000" for further
information.
The Factory Programs 64
Algorithm 108 - Ultra-Tap S + SE + B + B+ + B/LT + D/SX + D/SE + 3500
Description
Ultra-Tap is a multi-purpose algorithm that has two separate but connected functions. The mono-in, stereo-out
program 1s a diffusor which generates a dense field of delays and it is a series of twelve digital delays connected to a
twelve channel stereo mixer. The two functions can be used in series or one at a time. The diffusor is made of a
series of four All Pass Filters which is each controlled by its own Delay parameter and by a Master Diffusion
Control.
The twelve delay lines can have a 1.4 second, collective delay time yet each is independently adjustable (Tap Delay)
with a Pan and Level control. Master controls include Spacing for setting the twelve delay times to various scales,
Weights for the twelve levels and various Pan configurations.
Block Diagram
Left Input H--
[+ eo Allpass !Haitpass 2|-HAlIpass 3! Allpass ihe,
x | 201 | Por po
Hight Mmput» —e | :
a
mors stereo |
Do! =
x | ;
— Tapped Delay Lane |
1 2 3 4 5 |
+ => —, AL +,
Levels =, ° > ñ E * + 7 , A и
ey An e A A
Pan Pan: ‘Pan: ‘Pan | {Pan
. L " - -
|, Left Output
-— Right Cutput
Parameters
#2 Length 1 to 100 per cent Modulation
The Master Length parameter controls the delay time of all twelve delays proportionally. Increasing this number will
increase all twelve delay times while decreasing it will shorten them all.
The Factory Programs 65
#3 Diffusor 0 to 100 per cent Modulation
This 15 the Master Diffusor control for the All Pass Filters. It works proportionally like the other master controls. An
All Pass Filter recirculates (feeds back) a delayed signal to its own input. However, unlike a delay line with
feedback, its frequency response is flat. The delayed signal is then delayed again and fed back again. This continues
until the signal decays. If a slap sound is the input with short delay times the result is a thick reverb sound with a
short decay time. With the delay set long the result is many echoes that trail off slowly. Individual control over the
four All Pass Delays is found in the Tedium mode described later.
#4 Width -100 to 100 per cent Modulation
Width 1s short for Image Width. It is also a master controller. This parameter relates to the stereo image or panning
of the twelve delay lines. We describe the delay lines as being fed into a stereo mixer. Each has its own Pan location
within the stereo image. The Master Width control is able to change all twelve Pans at once. Assuming that the
twelve Pans are all set to different places, setting the Master Width at 100% will keep these settings intact.
Decreasing toward 0% will move them all proportionally toward 0 or center in the stereo image. At 0% all are at
dead center. Moving the control toward -100% will result in image reversal. In other words anything that was
panned slightly right will now begin to be slightly left. Finally, when the control is at -100% all the pans will be
opposite where they began.
449 Feedback -100 to 99 per cent Modulation
This controls the leve! of effect signal to be added (recirculated or fed back) to the input signal. 0% feedback will
give a single repeat while - 100% will capture a signal infinitely. Be careful not to add too much material at high
feedback levels or the output will soon turn to chaos.
#0 Left Mix 0 to 100 per cent Modulation
#1 Right Mix 0 to 100 per cent Modulation
The left and right mix levels are the balance between the dry signals and the wet signals. 50% mix results in equal
levels of dry and wet sound at the output.
Expert Mode Parameters
HS Stereo/Mono Stereo or Mono Modulation
Here the right input channel can be switched on or off. In stereo mode both right and left channels are added (mixed)
together and sent to the delay line. In mono mode only the left channel is used.
#50 Fb Tap tap 1 to 12
The feedback parameter described earlier is assigned to one of the 12 delay taps with this control. Only the selected
tap's output will be recirculated to the input.
Quickset Parameters
Note: The following three parameters are found by pressing the Quickset softkey. Quickset is a chosen group of three
parameters which make this algorithm easy to learn and control. For the real expert, see Tedium.
Warning: Using the Quickset parameters will change the related settings in the Tedium mode. If you have
painstakingly adjusted the Tedium parameters do not change the Quickset values. These parameters are used
to "preset" all of the Tedium values.
#6 Spacing see listing below
Spacing controls the time delay between each delay line (tap). The six parameter choices are:
Constant Linear Increasing
Linear Decreasing Exponential Increasing
The Factory Programs 66
Exponential Decreasing
Random Spacing
Here are graphic illustrations of each:
constant | linear increase
= | Do = A
an | 1110
QL | wi!
~ | ; 4 1 a |
LL ||| |
Delay Delay
exponential increase | linear decrease
vf © | | | |
1 > 1
E {1} 1 | |
110 LU
i | na
Delay Delay
exponential decrease
|
1
1 1
| a
' 1 "o
: 1
Level
#7 Weights see listing below
the Weights parameter controls the relative volume level of each tap. The six parameter choices are the same as in
Spacing:
Constant Linear Increasing
Linear Decreasing Exponential Increasing
Exponential Decreasing
Random Spacing
The Factory Programs 67
Here are graphic illustrations of the weight settings:
/ constant | linear increase
— Por RE do —
с | Poo] | ; | ©
211111111110 > pi
Vi o | o] © | ||
ны | | Do — | | | ||
| | Pol | Lo |
mm Ed | | MEA
Delay Delay
exponential Increase , linear decrease
© © |
> > | | |
Q | © |
0° | | |
E. MA MEN
Delay Delay
exponential decrease | random
© vi a
> = | I | |
Y - QU | | I
— ml | | | | | | | ;
1114111010
в A Na
Delas Delay
#8 Pans see listing below
Each of the twelve delay taps has a pan location. This parameter gives different shapes to the stereo image. Here are
the nine choices:
Panned Center Panned Left
Panned Right Alternating Left and Right
Left to Right Sweep Right to left Sweep
Spread from Center Merge to Center
Random Pans
Center, Left and Right simply put all twelve Pans to that location. Alternating Left and Right will pan the first delay
tap hard left, the second hard right, the third hard left, etc. Left to Right Sweep will pan the first delay tap hard left
then pan each following tap a bit closer to right until the last tap is at hard right. Right to Left Sweep does the same
only reverses the direction. Spread from Center pans the first tap at center, the next a bit left of center, the next
further right of center, etc., until the last tap ends at hard left. Merge to Center pans the first tap hard right, the next
not so hard left and the next less hard right etc... until the last tap which ends at center. Random Pans is just that.
Tedium Parameters
Note: The following forty parameters are found by pressing the Tedium softkey, the desired softkey and then the parameter
key until the desired number is found, followed by the numbered softkey. These Tedium parameters give very flexible
control over each delay tap and the Diffusor. They can also make you crazy.
The Factory Programs 68
#9-20 Tap Delay 1-12 0 to 1450.0 milliseconds
These parameters control each individual delay line's delay time. Note that the values are not the time delay from
mput signal to output but the time between each tap. Here's an example; if all Tap Delays are set to 20ms the first tap
would sound 20ms after the input signal, the second would be 20ms after that or 40ms from the input signal. The total
Tap Delay cannot exceed 1450.0 milliseconds. In other words, all the Tap Delay settings added together can't be
greater than 1450.0 ms. Ifyou try to adjust them over the limit the H3000 will display the "OOPS" message and not
let the value go beyond the limit.
#21-32 Tap Level 1-12 0 to 100 per cent
These parameters control the output level of each delay tap.
#33-44 Pan Taps -11 to 11
These are the pan locations of each individual delay tap. A setting of -11 is panned hard left, 0 is dead center and 11}
is hard right.
#45-48 All-pass delays 0 to 800 milliseconds
The four All Pass Delays control the All Pass Filters described earlier. These filters make up the Diffusor in this
algorithm. In general, setting these numbers high (near 800ms) will give a long decay time with a discrete echo
sound. Setting these numbers low (near Oms) will give dense (diffuse) sounds. Since there are four filters a mixture
of the qualities can have great results. The parameter adjusts in .1 millisecond steps (1/10,000 ofa second) from 0 to
800 milliseconds. There is one limitation to the length. The total delay of all four filters and the twelve tap delays
cannot exceed 1450 milliseconds and no single delay setting can exceed 800ms. The H3000 will give you an
"OOPS" message if you try to go past that.
Levels
#50 Left In -48 to 48 dB
#51 Right In -48 to 48 dB
#52 Left Out -48 to 48 dB
#53 Right Out -48 to 48 dB
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here
are added to or subtracted from the "master" levels. See the levels section in “Running the H3000" for further
information.
The Factory Programs 69
Algorithm 109 - Long Digiplex S +» SE +» B + B+ + B/LT + D/SX - D/SE » 3500
Description
Algonthm 109 is one long delay line capable of recirculating its output back to its input. The output is sent to both
right and left channels. MIDI controllable parameters include up to 1.4 seconds of delay, an adjustable feedback
(recirculation) level, infinite repeat and mix level.
Block Diagram
Feedback
и
~
= ||
Left Input» —» — ———p Delay —e— + Left Output
— + Right Output
Glide
Parameters
#1 Delay 0 to 1400 milliseconds Modulation
This sets the length of time between the input signal and the delayed output signal. The delay time is adjustable in
one millisecond steps (1/1000th of a second) up to 1,4 seconds.
#2 Feedback -100 to 99 per cent Modulation
This controls the level of delayed signal to be added (recirculated or fed back) to the input signal. 0% feedback will
give a single repeat while - 100% will capture a signal infinitely. Be careful not to add too much material at high
feedback levels or the output may turn to chaos. In general -100% feedback will work better when doing tape loop
type effects.
#3 Repeat on or off
The Repeat switch will capture up to 1.4 seconds of audio and replay it continuously. Pressing Repeat again will
release the segment.
#4 Mix 0 to 100 per cent Modulation
The mix level is the balance between the original or dry signal and the effected or wet signal. A 50% mix will result
in equal levels of dry and wet sound.
The Factory Programs 70
Expert Mode Parameters
#5 Glide Speed 0 to 100 Modulation
This is the time it takes the H3000 to respond to changes in the delay time settings. What's gliding? Well, that's
what happens when the delay time is changed drastically on the front panel. With glide on, a large delay time change
will slowly and smoothly change the perceived audio delay. No pops, crackles or even snaps in the output. 100 speed
means quick changes and a speed of 0 means very slow changes.
#6 Glide Enable delay glide on or off
This tums the delay gliding on or off. It's normally on.
Levels
#7 Left In -48 to 48 dB
#8 Right In -48 to 48 dB
#9 Left Out -48 to 48 dB
#10 Right Qut -48 to 48 dB
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here
are added to or subtracted from the "master" levels. See the levels section in "Running the H3000" for further
information.
The Factory Programs 71
Algorithm 110 - Dual Digiplex S + SE + B - B+ + B/LT + D/SX + D/SE - 3500
Description
Dual Digiplex 1s similar to Long Digiplex (Algorithm 109) it provides two separate delay lines each with its own
controls. Delay time on each channel 1s up to .7 seconds.
Block Diagram
Feedback
| DN
Жо ог)
Left Inpulb———F + # L Delay + Left Output
LOU +
Glide
* Feedback
ST
Right Inpith»—6-e) — > —» R Delay —s—3% Right Output
mono stereo — :
| Glide :
Parameters
#2 L Delay 0 to 700 milliseconds Modulation
#8 R Delay 0 to 700 milliseconds Modulation
This sets the length of time between the left or right input signal and the delayed output signals. The delay time is
adjustable in one millisecond steps (1/1000th of a second) from 0 up to .7 seconds.
#3 L Feedback -100 to 99 per cent Modulation
#9 R Feedback -100 to 99 per cent Modulation
This controls the amount of left or right channel delayed signal to be fed back to the left or right channel's input. 0 per
cent feedback means nothing 1s recirculated so that only one delay is heard. -100 percent will capture the signal
indefinitely. Be careful with the input levels when working with high feedback. The output can quickly build up to
clipping. In general -99 per cent feedback will work better when doing digital tape loop type effects.
#0 L Mix 0 to 100 per cent Modulation
#1 R Mix 0 to 100 per cent Modulation
The left and right mix levels control the balance between the dry signals and the wet signals. A 50% mix will result
in equal levels of dry and wet sound at the output.
#7 Repeat on or off
The Repeat switch will capture up to 1.4 seconds of audio and replay it continuously. Pressing Repeat again will
release the segment.
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Expert Mode Parameters
#4 Glide Speed 0 to 100 Modulation
This is the time it takes the H3000 to respond to changes in the delay time settings. Gliding occurs when the delay
time is changed drastically. With glide on, a large delay time change will slowly and smoothly change the perceived
audio delay. No noise is created in the output. 100 speed means quick changes and a speed of 0 means very slow
changes.
HS Glide Enable delay glide on or off
This turns the delay gliding on or off. It is normally on.
#6 Stereo/Mono Stereo or Mono
Here the night input channel can be switched on or off. If set for stereo the H3000 is two independent, 700ms
digiplex units. If set to mono the signal at the left input channel can have two separate delay times, each with its own
feedback and mix level.
Levels
#10 Left In -48 to 48 dB
#11 Right In -48 to 48 dB
#12 Left Out -48 to 48 dB
#13 Right Out -48 to 48 dB
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here
are added to or subtracted from the "master” levels. See the levels section in "Running the H3000" for further
information.
The Factory Programs 73
Algorithm 111 - Patch Factory B+ B+ + B/LT + D/SX - D/SE + 3500
Description
The Patch Factory algorithm gives the user a bit of almost everything. This algorithm contains a pitch shifter, two
tuneable filters (These can be lowpass, highpass, or bandpass), two delay lines and a white noise generator. Using
these basic effect elements, a flexible patching scheme and some "glue" (a pair each of summing junctions and
attenuators), clever users can create sound effects limited only by their imaginations.
Block Diagram
| NOISE | > u
GEN 7 N >
a A
SCALE 1 SUM 1
LEFT, > > U
INPUT - (+
TT SCALE 2 Ne
SUM 2
—» DELAY 1 | A
| 0e > | HP
— LP —
| BP LEFT >
- —] PF OUTPUT
—» DELAY © [+ FILTER 1 — —
| | НР!» BN _
4 eu | > LP} RIGHT >.
» SHIFT > | Boba "OUTPUT 7
FILTER 2
Parameters
#0 Cutoff 1 0 to 7000 Hertz Modulation
#1 Cutoff 2 0 to 7000 Hertz Modulation
#2
#3
Cutoff 1 and 2 control the cutoff frequencies of filters 1 and 2. The adjustment is made in Hertz, and determines the
point at which the filter attenuates by 3 dB (for lowpass and highpass filters). For bandpass filters, this parameter
controls the center frequency (or resonant frequency ) of the filter.
Q Factor 1 0 to 1.000 Modulation
Q Factor 2 0 to 1.000 Modulation
This parameter adjusts the shape of the frequency response of filters 1 and 2. When the Q factor is set to zero, the
filter will be relatively flat up to it cutoff frequency. As the Q is increased, the filter will develop a peak at the center
frequency. At a Q factor of 1, the filter will oscillate at the center frequency.
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#4
#5
#6
#7
#8
#9
Hint:
#10
#11
Levels
#12
#13
#14
HIS
Delay 1 0.0 to 500.0 milliseconds Modulation
Delay 2 0.0 to 500.0 milliseconds Modulation
These parameters control the amount of delay for delay lines 1 and 2. The delay is adjusted in milliseconds and is
adjustable to the nearest tenth of a millisecond.
Scale 1 -100.0 to 100.0 per cent Modulation
Scale 2 -100.0 to 100.0 per cent Modulation
Scale 1 and 2 control the amount of attenuation for attenuators 1 and 2. The attenuation is adjusted in per cent. An
adjustment of 100 per cent corresponds to no attenuation. An adjustment of 0 per cent turns the signal off, Negative
settings invert the phase of the signal.
Coarse, Fine -4800 to 1200 cents Modulation
This controls the amount of pitch shift in the pitch shift section. The pitch shift is given in cents, where +100 cents
transposes the signal up by one half-step and -100 cents transposes the signal down by one half-step. The coarse
adjustment of pitch allows pitch shift control in 100 cents (or semitone) intervals.
P Delay 0 to 500 milliseconds Modulation
P Delay (Pitch shift delay) controls the amount of delay in the pitch shift section. The delay is adjusted in
milliseconds. This delay can be used just like delay lines 1 and 2, with the exception that it is always connected to the
pitch shifter. |
If you want real-time, clickless delay control, use this delay instead of delay lines 1 and 2,
Left Mix 0 to 100 per cent Modulation
Right Mix 0 to 100 per cent Modulation
These control the dry/wet mix for the left or right output channels. A setting of 100 per cent corresponds to full wet
(effect) output. Setting the mix to 0 per cent corresponds to a full dry output.
To access the level adjustment parameters, press the softkey labelled "levels" on the last parameter page. Pressing
“return” will bring you back to the normal parameter pages.
Left In -48 to 48 dB
Right In -48 to 48 dB
Left Out -48 to 48 dB
Right Out -48 to 48 dB
The level parameters allow individual level adjustments to be edited and saved with each user preset. All of the level
adjustments are made in dB and are added to the master level adjustments (The master level adjustments are those
made after pressing the "levels" key beneath the bargraphs).
Expert, Deglitch Parameters
#16
#17
The deglitch parameters are used to optimize the pitch shift software to get the best, smoothest sound. To get to these
parameters, press the "expert" key on the last parameter page, and then press the "deglitch" key.
Low Note 9 Hz to C7
Set this parameter for the lowest note you reasonably expect to pitch shift. Note: The lower the sefting on this
parameter, the longer the processing delay of the pitch shifter. In other words, don't set this parameter any lower than
needed.
High Note C4 to C8
Set this to the highest note you expect to pitch shift. Typically, the smaller the range between the high note and the
low note, the better the pitch shifter will sound.
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#18
Source polyphonic- * -solo
This 1s another parameter used to tune the pitch shifter performance. Move the star towards "polyphonic" for
polyphonic input sources (for example, a full mix), and move it towards the "solo" for monophonic instruments (like a
solo flute). The last word though, is your own ear. Adjust this and all parameters until the effect sounds the best!
Patching
Important Note:
This is where the fun really starts. The patching adjustments of this algorithm let you virtually design your own effect
algorithms. To start patching, press the "expert" key on the last parameter page, then press the "patching” key.
Patching allows you to connect the basic effect elements (shown on the block diagram) in almost any way you wish.
To make a "patch", simply find the desired patch destination in the menu.
Before experimenting with different patches, turn your speaker or headphone level down to a quiet
level. Changing the patching can result in bizarre and possibly very loud sounds.
For example, to patch something to the left output, press the "parameter" key until you see the "I output" key appear.
Press the "1 output” key. The display will show what "I output" or the left output is connected to. Turning the knob
will change the patch. To send white noise to the left output, turn the knob until "I output:noise gen" appears on the
display. If you listen to the left channel] output, you will hear full amplitude white noise. (This is an example of a
"very loud" sound).
Patch destinations
#19 Filt 1 In Filter 1 input #20 Filt 2 In Filter 2 input
#21 Delay 1 In Delay 1 input 422 Delay 2 In Delay 2 input
#23 Scale 1 In Scaler 1 input #24 Scale 2 In Scaler 2 input
#25 Sum ia In Summing junction 1, "a" input #26 Sum 1b In Summing junction 1, "b"
input
#27 Sum 2a In Summing junction 2, "a" input #28 Sum 2b In Summing junction 2, "b"
input
#29 Shift In Pitch shifter input #30 L Output Left output
#31 R Output Right output
Patch Sources
Left Input - The left channel audio input Sum 1 - The output of summing junction !
Sum 2 - The output of summing junction 2 Delay 1 - The output of delay line 1
Delay 2 - The output of delay line 2 Scaler 1 - The output of scaler 1
Scaler 2 - The output of scaler 2 Lowpass 1 - Lowpass filter | output
Lowpass 2 - Lowpass filter 2 output Bandpass 1 - Bandpass filter 1 output
Bandpass 2 - Bandpass filter 2 output Highpass 1 - Highpass filter 1 output
Highpass 2 - Highpass filter 2 output Noise Gen - Noise generator output
Pitch Shift - Pitch shifter output Null Input - Connects to nothing (no sound)
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76
Algorithm 112 - Stutter | SE - B - B+ + B/LT + D/SE + 3500
Description
The Stutter algorithm is used to create that popular st..st..stutter sound - in real-time, without the need for a sampler or
cumbersome digital delay acrobatics.
Block Diagram
—» Pitch Shifl — Dela
y Left Output
|
—
|
|
Left Inpu tu | +
Stutter Control
A
(47
|
Right Input
- , .
|
|
3 LI)
— Pitch Shift —+ Delay — Right Outpul
| 0 Lu A
Parameters
H0 Trigger! no adjustment Modulation
#1 Trigger no adjustment Modulation
#2 Trigger3 no adjustment Modulation
#3 Trigger4 no adjustment Modulation
#4
#6
#7
#8
Pressing the any of the four trigger keys will trigger an effect. The effect may consist of a stutter, a pitch sweep or a
change of pitch shift. What happens depends on what is “patched” to that particular trigger key (The patching is set
up in the expert parameters).
Auto On/Off On or Off
This parameter turns on the automatic stutter sequencer. When the sequencer 1s on, preset triggers will be sent out at
a rate determined by the "program rate" parameter.
Speed 0 to 100 Modulation
This controls the rate at which the trigger sequencer generates triggers. At a setting of 0, the triggers will occur very
infrequently. When set to 100, the triggers will occur constantly.
Program see list below
The "program" parameter determines what type of triggers are generated by the trigger sequencer. Here is a
description of each setting:
total random - generates random stutters, random pitch sweeps and random pitch shifts
random sweep - generates random pitch sweeps only
random pitch - generate random pitch shifts only
Just stutter - generate random stutters only
Left Mix 0 to 100 per cent Modulation
Right Mix 0 to 100 per cent Modulation
These control the dry/wet effect mix at the left or right outputs, When set to 0 per cent, the mix 1s full dry. When set
to 100 per cent the output is full wet effect.
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Levels
To access the level adjustment parameters, press the softkey labelled "levels" on the last parameter page. Pressing
“return” will bring you back to the normal parameter pages.
#9 Left In -48 to 48 dB
#10 Right In -48 to 48 dB
#11 Left Out -48 to 48 dB
#12 Right Out -48 to 48 dB
The level parameters allow individual level adjustments to be edited and saved with each user preset. All of the level
adjustments are made in dB and are added to the master level adjustments (The master level adjustments are those
made after pressing the "levels" key beneath the bargraphs.)
Expert Parameters, Trigger Menu
The trigger menu contains parameters used to set up different types of stutters and to assign stutters and pitch sweeps
to the trigger keys, "trigger1" through "trigger4". To access the trigger menu, first press the "expert" key on the last
page of the parameter menus. Then press the "triggers" key.
Stutter Parameters
There are two sets of stutter parameters, labelled "stutter 1" and "stutter 2". This allows the user to set up two
different types of stutters and assign them to different trigger keys. For example, a single, long repeat can be assigned
to trigger ] and a short, repetitive stutter can be assigned to trigger 2.
#13 Length 1 0 to S00 milliseconds Modulation
#14 Length 2 0 to 500 milliseconds Modulation
The length 1 and length 2 parameters set the length of the segments to be repeated after stuttering is triggered. The
“length 1" parameter will be used when "stutter 1" is patched to a trigger key. The "length?" parameter will be used
when "stutter 2" is patched to a trigger key.
#15 Count 1 0 to 16 Modulation
#16 Count 2 0 to 16 Modulation
These parameters determine how many times the stutter segment is to be repeated. The "count 1" parameter will be
used when "stutter 1" is patched to a trigger key. The "count 2" parameter will be used when "stutter 2" is patched to
a trigger key.
Trigger Parameters
The trigger parameters are used to patch stutters and pitch sweeps to the four trigger keys "trigger 1" through
“trigger4". Each trigger key can trigger two things. This allows a pitch sweep and a stutter to be triggered by one
key press.
To make a patch to the "trigger1" key, press "expert", "triggers", and "PARAMETER" to bring up the page with “trig
la”, "trig 1b”, "trigger 1", and "return". Press the "trig 1a" key. Turn the knob to select a stutter or pitch sweep to be
triggered. (See below for a list of the different triggers.) Do the same thing for the "trig 1b" parameter. Pressing the
“tniggerl” key will now simultaneously trigger the effects patched to “trig 1a" and "trig Ib". (We've included an
extra "triggerl" key on this menu. By pressing this key you can easily audition the effect of your patching.) Follow
the same procedure to set up triggers 2 through 4.
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#17 Trigger 1a see trigger list
#18 Trigger 1b see trigger list
#19 Trigger 2a see trigger list
#20 Trigger 2b see trigger list
#21 Trigger 3a see trigger list
#22 Trigger 3b see trigger list
#23 Trigger 4a see trigger list
#24 Trigger 4b see trigger list
These eight parameters select the effects to be patched to trigger keys 1 through 4. Each trigger can have two effects
patched to it, hence the "a" and the "b” for each parameter. See the trigger list below for the available effects.
Trigger List
no action - This does nothing.
stutl | - Stutter on the left channel using stutter 1 parameters.
stutl r - Stutter on the right channel using stutter 1 parameters.
stut] 1&r - Stutter on both channels using stutter 1 parameters.
stut? Lr,1&r - Stutter using stutter 2 parameters.
rands lr lér - Stutter using random stutter parameters.
swpul lr,Jér - Sweep up pitch using the sweep 1 parameters.
swpu2 Lrl&r ~~ Sweep up pitch using the sweep 2 parameters.
swpdl Lrl&r - Sweep down pitch using the sweep 1 parameters.
swpd2 Lr,l&r - Sweep down pitch using the sweep 2 parameters.
sw lu/rd - Sweep up the left channel while sweeping down the right channel,
sw Id/ru - Sweep down the left channel while sweeping up the right channel.
pit] 1,r1&r - Set a random pitch shift using sweep 1 parameters.
rpit2 Lr l&r - Set a random pitch shift using sweep 2 parameters.
zerol Lrl&r - Set sweep generator 1 and the specified channel to no pitch shift.
zeroZ Lrl&r — -Setsweep generator 2 and the specified channel to no pitch shift,
Sweep Menu
#25
#28
#26
#29
#27
#30
#31
#35
The sweep menu contains parameter adjustments for the pitch shifters and pitch sweep generators. To get to these
parameters, press the "expert" key on the last parameter page and then press the "sweeps" key.
| coarse, fine -4800 to 1200 cents Modulation
r coarse, fine -4800 to 1200 cents Modulation
These contro! the amount of pitch shift in the left and right channels. The pitch shift is given in cents, where +100
cents transposes the signal up by one half-step and - 100 cents transposes the signal down by one half-step. The
coarse adjustment of pitch allows pitch shift control in 100 cents (or semitone) intervals.
I delay 0 to S00 milliseconds Modulation
r delay 0 to 500 milliseconds Modulation
These contro! the amount of delay in the left and right channels. The delay is adjusted in milliseconds.
I fdback 0 to 100 per cent
r fdback 0 to 100 per cent
These control the amount of feedback in the left and right channels. When this parameter 1s set to 0 per cent, there is
no feedback.
upl rate 0 to 100
up2 rate 0 to 100
These control the rate of pitch sweep generators 1 and 2 for sweeping up in pitch.
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#32
#36
#33
#37
#34
#38
#39
#40
upl max 0 to 100
up2 max 0 to 100
These set the maximum pitch for sweep generators 1 and 2.
dnl rate 0 to 100
dn2 rate 0 to 100
These control the rate of pitch sweep generators 1 and 2 for sweeping down in pitch.
dnl min 0 to 100
dn2 min 0 to 100
These set the minimum pitch for sweep generators 1 and 2.
rand] max -1200 to 1200 cents
rand2 max -1200 to 1200 cents
This sets the pitch limit for the random sweep value for sweep 1.
Deglitch Menu
441
#42
#43
The deglitch parameters are used to optimize the pitch shift software to get the best, smoothest sound. To get to these
parameters, press the "expert" key on the last parameter page,and then press the "deglitch" key.
Low Note 9 Hz to C7
Set this parameter for the lowest note you reasonably expect to pitch shift. Note: The lower the setting on this
parameter, the longer the processing delay of the pitch shifier. In other words, don't set this lower than needed.
High Note C4 to C8
Set this to the highest note you expect to pitch shift. Typically, the smaller the range between the high note and the
low note, the better the pitch shifter will sound.
Source | polyphonic- * -solo
This is another parameter used to tune the pitch shifter performance. Move the star towards "polyphonic" for
polyphonic input sources (for example, a full mix), and move it towards the "solo" for monophonic instruments (like a
solo flute). The last word though, is your own ear. Adjust this and all parameters until the effect sounds the best!
The Factory Programs 80
Algorithm 113 - Timesqueeze B + B+ + H3500-B
Description
The Timesqueeze algorithm is used to speed up or slow down pre-recorded program material without altering the
pitch. When used in conjunction with a variable-speed audio tape recorder, this algorithm will automatically control
the tape machine playback speed and make the necessary pitch correction for the desired amount of time compression
(speeding up) or expansion (slowing down).
Timesqueeze finds itself most useful in the production of radio or television commercial spots, where fitting program
material in 30 second of 1 minute slots is crucial.
Important note for first-time users: If you want to control the speed of your tape machine with the H3000, see first
the section labelled "Tape Machine Hook-up" and also the section on "Tape Machine Interfacing Parameters".
Block Diagram
Parameters
#0 set up
Pressing the "set-up” key allows you to precisely change the length of a piece of program material without any messy
arithmetic (that is, calculating per cent of time change, tape machine inches per second, and pitch ratios.) All that is
needed is to enter the length of the original source material and the desired length of the compressed (or expanded)
result. The H3000 will do the necessary math.
Press "set-up" to start:
Now enter the length of the original program. The length is displayed as hours: minutes:seconds. Press the "hours",
"minutes", or "seconds" softkeys and enter the time with either the keypad or the knob. When the corrct time has
been entered, press "done".
The display will now show:
ve
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Now enter the desired length of the compressed (or expanded) program. For convenience, the original length is given
as a starting point. Enter the time as before. When the desired time has been entered, press (done).
The H3000 (and the tape machine, if it is using the H3000B speed control) is now set up to change the length of the
recorded program. The display will now show how much time compression or expansion is being used to change the
program length. The change in length is displayed in per cent. Negative percentages correspond to time compression
while positive numbers correspond to ti
#0 time -87.5 to 100.0 per cent Modulation
Pressing the ( time ) softkey will allow direct entry of the percentage of time change. The time is entered in per
cent, with negative percentages corresponding to time conpression (speeding up) and positive numbers corresponding
to time expansion (slowing down). Changing this parameter will automatically set the tape machine speed and the
correct amount of pitch shift.
#1 pitch 001 to 2.000 Modulation
This parameter allows the user to change the pitch of the output material independently of the pitch shift necessary
for time compression of expansion. This is occasionally desireable when vocal material is speeded up considerably.
In these cases, even though the pitch has been corrected, listeners may perceive the speaker as having a higher voice.
This effect may be reduced by slightly lowering the pitch of the voice. The pitch shift is displayed as a ratio (just like
the old Harmonizers) and can be adjusted either up or down. A ratio of 1,000 corresponds to no pitch shift. Numbers
lower than 1,000 shift the pitch down while larger numbers shift the pitch up. A ratio of .5 corresponds to an octave
shift down, while a ratio of 2,000 corresponds to an octave shift up.
Expert Mode Parameters
Deglitching Parameters
These parameters are provided for the user to fine tune this algorithm for the most transparent performance.
#2 min delay О to 400 milliseconds
This parameter controls the overall delay of the pitch shifter. Longer delay settings will generally result in a better
sound (long delay settings give the H3000 more time to analyze the input signal). A setting of 50 to 100 milliseconds
will normally give very good results.
#3 delayrng 0 to 100 milliseconds
the "delay range" parameter controls to amount of variation allowed to the processing delay. Here again, larger
settings will result in a cleaner sound. The only drawback for large settings of this parameter is that rhythmic
material will tend to have tempo variations as the delay varies. A setting of 50 milliseconds strikes a good balance
between "tightness" of rhythm and clean sound.
#4 min freq 44 to 90 Hertz
The "minimum frequency" parameter determines the lowest frequency that the H3000 will be able to cleanly process.
Set this to the lowest frequency that is expected to be time compressed. The higher this parameter is set, the better
(unless the input frequency goes below minimum). At higher settings, the H3000 will respond faster to changes in the
input signal, while at lower settings it will be able to process lower frequencies. In general, for voice only processing,
this parameter should be set to the higher ranges (70 to 90 Hertz). For music or mixed program material (especially
if the program is bass heavy) this parameter may have to be set in the lower ranges.
#5 silence 0 to 99.9 per cent
In order to better compress or expand program material, the H3000 looks for gaps, or silences in the input signal,
This parameter controls the level that is considered as silence. Adjustment of this may be necessary when the input
noise level to the H3000 canges. If there is a large input noise level, this parameter should be set higher. If the noise
The Factory Programs 82
level is low, this paramerer should be set lower. This parameter should be adjusted by ear for the best sound. If this
parameter is set too high, weak vocal sounds may sound "chopped out”. If that is the case, adjust this parameter to a
lower value.
Tape Machine Interfacing Parameters
The tape machine parameters are used to enable the H3000 to control the speed of a tape machine for time
conpression and expansion. If you wish to control the speed of your tape machine with this program, you must set
these parameters properly. If this is the first time you are attempting time compression or expansion with the H3000,
follow this procedure:
1) Set the machine parameters to be compatible with your particular tape machine (below).
2) Save these settings on a preset. (Press the "PROGRAM" button twice, then the "SAVE" softkey.)
3) Connect the freequency control output of the H3000 to your tape machine, following the procedure given
below (under "Tape Machine Hook-up).
select (list of tape machines)
This parameter provides the easiest way to set up the H3000 to control the speed of your tape machine. To get here
from the main parameters, press ( expert ), then (machine ), and then ( select ). Turn the knob to see a list of tape
machines. When the proper machine 1s in the display, press (thats it). The H3000 will now be set up to control the
speed of your tape machine automatically. If your tape amchine is not listed, use the ( custom ) softkey to set up the
machine (see below).
À note about ( note ): Some tape recorders may have peculiar characteristics relevant to speed control. In these
cases, we have provided extra information for the user. To access this information, press and hold the ( note )
softkey m the machine selection menu.
Important: Don't forget to save this set-up as a preset!
custom
If it 1s desired to interface to a tape machine that is not listed int he machine list, it is necessary to make a custom set-
up. From the machine selection menue press the ( custom ) softkey. The H3000 supports only frequency controlled
machines. For these machines, making a custom set-up is only a matter of setting a reference frequency parameter
(see below),
reference
This parameter must be set to the nominal operating control frequency for the tape machine. This information should
be found in the tape machine's operating manual. This frequency should be set to gibe a playback speed equal to the
onginal recording speed of the program material.
Important: Don't forget to save this set-up as a preset.
Levels
To access the level adjustment parameters, press softkey ( levels ) on the last parameter page. Pressing ( return )
will bring you back to the normal parameter pages.
#6 LeftIn -48 to 48 dB
#7 RightIn -48 to 48 dB
#8 Left Out -48 to 48 dB
#9 Right Out -48 to 48 dB
The level parameters aliow individual level adjustments to be edited and saved with each user preset. All of the level
adjustments are made in dB and are added to the master level adjustments. (The master level adjustments are those
made after pressing ( levels ) beneath the bargraphs.)
The Factory Programs 83
Tape Machine Hook Up
In order to control the speed of a tape machine, the H3000 must have a tape machine interface (this 1s included in the
H3000B, B+ and H3500B). The H3000 only supports frequency controlled tape machines.
To connect a tape machine for frequency control, connect the frequency output of the H3000 to the frequency output
of the tape machine. The frequency output is available at the 1/4 inch phone jack labelled PORT D' on the rear of the
H3000. The froequency output is a positive five volt square wave (TTL compatible) at the tip of the PORT D phone
jack connection. The ring and sleeve of this connection are connected to ground.
It will be necessary to wire a cable to interface to the tape machine. Wire the tip of the H3000 PORT D output to the
frequency input of the tape machine. Wire the ring and sleeve of PORT D to the ground connection on the tape
machine interface. See the tape machine manual for information on how to wire the other side of the cable.
it may also be necessary to take other steps with the tape machine to enable it to accept remote control. Some
machines have a pin that needs to be grounded before they will run using an external frequency.
Once connected, put the machine into external variable speed mode. Then run the Timesqueeze program to see if the
speed control is working. Make sure the machine set-up parameters have been properly set. Change the ( time )
parameter by large amounts to see if the machine is responding to the frequency changes. Ifit is not responding
correctly, check carefully the wiring to the tape machine and the machine set-up parameters.
The Factory Programs 84
Algorithm 114 - Dense Room SE « D/SE + H3500
Description
This algorithm offers a much improved early response characteristic over the original "Reverb Factory” program. In
addition, this algorithm has greater reverb “density” and better control over source positioning within the simulated
room. The apparent source location can be easily controlled with the front/back position control and the panning
control. The parametric EQ of Reverb Factory has been replaced by a simple "high-cut" control, and the noise gate
has been removed to allow for the extra-dense processing.
Block Diagram
Early Mix/Pan
_}
| |
] | Reverberator tf £ ==
| E + Left Output
TT | High Cut E
Left input ——— Predelay + Diffusion (+ Delays 1-6 = =
Feverb Time |-— = > — bb — Right Output
Size © |
Parameters
40 Predelay 0 to 500 milliseconds Modulation
This parameter controls the amount of delay added before the reverberated sound. This can be used to increase the
illusion of a large room.
*1 Rev Time 0.1 second to infinity Modulation
This parameter controls the reverb time or "liveness" of the simulated room.
#2 High Cut 0 to 100 per cent Modulation
The High Cut control is used to roll off the higher frequencies of the reverb to give a more natural response.
Increasing this makes the room sound "warmer".
#3 Size 0 to 100 per cent Modulation
Use the size control to adjust the apparent size of the room. This one control simultaneously scales all of the delay
lengths in the reverb algorithm.
#4 Position Front to Rear Modulation
The position control affects the apparent location of the listener within the room. Moving the icon towards "rear" or
"front" will simulate the sound of a listener seated towards the rear or front of the room.
#5 Pan Pan Left to Pan Right Modulation
Like the position control, the pan control moves the apparent location of the listener. Instead of front/rear location,
this controls the lefi/right positioning.
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#6 Early Mix 0 to 100 per cent Modulation
The Early Mix parameter controls the nature of the early response of this reverb. A setting of O will result in a more
coherent early response, especially with the position set to the front of the room. Higher settings will result in a more
diffuse sound.
#7 Diffusion 0 to 100 per cent Modulation
This control affects the overall diffusion within the reverb. Low settings of this parameter will result in a coarser
reverb sound, while high settings will give a smoother overall reverb. The effect is most noticeable in the early
response of the reverb.
#8 Mix 0 to 100 per cent Modulation
This controls the overall dry/wet mix of the reverb.
Expert Parameters
#9-14 Delay 1-6 0 to 5000 samples
These six parameters control the delay settings of the six delay lines which are the heart of this reverb. These
parameters are the key to getting different type room sounds, Because of the critical nature of these settings, the delay
values are adjusted in samples, where 1 sample equals 22 microseconds.
#15-17 Allpass Delay 1-3 0 to 5000 samples
These three parameters control the delay values of the diffusion section of this reverb. Like the above parameters,
these settings are critical in determining the actual quality of the reverb.
#18-20 Allpass Gain 1-3 0 to 100 per cent
The actual feedback gains of the three diffusors are controlied with these parameters. In combination with the delay
settings, the gains determine the overall smoothness of the reverb sound.
#21-26 Pan 1-6 Left to Right
These six pan controls are used to control the panning of the six delay outputs of this reverb. These settings can have
an incredible effect upon the stereo imaging of the reverb.
4427-32 Level 1-6 -100 to 100 per cent
The output levels of the six delay lines are controlled with these parameters. Use these settings to tailor the shape, or
"envelope" of the early response,
Levels
To access the level adjustment parameters, press the softkey labelled "levels" on the last parameter page. Pressing
"return" will bring you back to the normal parameter pages.
#33 Left In -48 to 48 dB
#34 Right In -48 to 48 dB
#35 Left Out -48 to 48 dB
#36 Right Out -48 to 48 dB
The level parameters allow individual level adjustments to be edited and saved with each user preset. All of the level
adjustments are made in dB and are added to the master level adjustments. The master level adjustments are those
made after pressing the "levels" key beneath the bargraphs.
Hint: The smooth build-up of this reverb makes it perfect for simulating large halls and auditoriums.
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Algorithm 115 - Vocoder SE » D/SE + H3500
Description
This is the H3000 version of the classic "vocoder”. A vocoder is used to impress the articulatory characteristics of
one instrument onto the timbre and pitch of another. Usually the articulation information (the "analysis" input) comes
from a spoken voice, while the timbre and pitch come from a keyboard, guitar, or any other instrument (the
“synthesis” input). This is a great way to get that "talking" guitar sound. Make sure to get the channel inputs right
when youre using this program. The right channel input is the analysis (voice) input, and the left input is the
synthesis (instrument) input.
Block Diagram
Synthesis |
Left Input Filter —
: | )
= Psuedo- = —— Left Output
| Stereo .——— Right Output
- 7
Right Input - : Analysis |
‘ |
Parameters
#0 Formant Speed 0 to 100 per cent Modulation
#1
#2
#3
#4
HS
This parameter controls the speed at which the synthesis filter tracks the spectrum of the analysis input. Low settings
will result in smooth, but slow tracking. High settings will give quick response, at the expense of some smoothness.
Envelope Speed 0 to 100 per cent Modulation
The Envelope Speed parameter controls the speed at which the synthesis filter tracks the articulation of the analysis
input. A low setting will tend to smear out the articulation while a high setting will quickly track input level changes.
Formant Shift 0 to 100.0 per cent Modulation
The Formant Shift parameter changes the sound of the vocoder by "modulating" the synthesis filter. The modulation
is such that high values of formant shift tend to "munchkin-ize" the vocoded sound. Sweeping this parameter with the
function generator will add a pleasant modulation to the vocoder.
Depth 0 to 100 per cent Modulation
This parameter controls the depth of the pseudo-stereo effect at the output of the vocoder. A setting of zero will result
in a non-stereo output.
Width 0 to 10.0 milliseconds Modulation
The width parameter controls the image width of the pseudo-stereo effect.
Mix 0 to 100 per cent Modulation
This controls the overall wet/dry mix of the vocoder.
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Expert Parameters
#6 Max Resonance 0 to 100.0 per cent Modulation
The maximum resonance control determines how "ringy" the synthesis filter is allowed to get. High settings of this
may result in more accurate tracking, but may result in more "blurbies” in the output.
#7 Min Error 0 to 100.0 per cent Modulation
This parameter, the minimum error, determines how close the synthesis filter tracks the input spectrum. With low
settings, the synthesis filter will closely track the analysis input. With high settings, the tracking is looser.
#8 Threshold 0 to 100 per cent Modulation
The vocoder has a built-in noise gate which eliminates mis-tracking caused by input noise or hum. This setting
determines the threshold of that noise gate.
Levels
To access the level adjustment parameters, press the softkey labelled "levels" on the last parameter page. Pressing
“return” will bring you back to the normal parameter pages.
#9 Left In -48 to 48 dB
#10 Right In -48 to 48 dB
#11 Left Out -48 to 48 dB
#12 Right Out -48 to 48 dB
The level parameters allow individual level adjustments to be edited and saved with each user preset. All of the level
adjustments are made т dB and are added to the master level adjustments. The master level adjustments are those
made after pressing the “levels” key beneath the bargraphs.
Hint: Make sure the input levels are good and hot, but not clipped. Extremely low input levels or clipping can give you
some horrible sounds. Also, you will get the best results if the synthesis input is harmonically rich. Synthesized
string ensemble type sounds are usually good to use. Distorted guitar also works very well. Using noise as an input
is also interesting.
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Algorithm 116 - Multi-Shift _ | SE - D/SX - N/SE - H3500
Description
What, another pitch shift program? Well, yes, but this one's got a few neat tricks up its proverbial sleeve. Borrowing
from research done with the TimeSqueeze® program, this program has superior pitch shift quality. The Multi-Shift
algorithm has been optimized for micro-pitch shift, allowing any source material to be processed without adding
artifacts. This algorithm is similar to the dual shift program, allowing discrete stereo pitch shifting. In addition to the
pitch shifters, a delay tap has been added to each pitch shift channel, giving a total of four outputs. Each of the four
outputs can be panned anywhere in the stereo field. The pitch shift range has been increased to plus or minus three
octaves. Also, a "patchable" feedback structure has been set up, allowing each pitch shifter to use any two of the four
outputs as feedback. Finally, each of the pitch shifters can be set, independently, to "reverse" pitch shift mode.
Block Diagram
Left Feedback | _
<j | Palch |
< | Patch | |
|
Left Feedback Z |: |
|
1
+,
i
|
— ana td |
poa
ba!
1
i
;
| : — Left Delay -- =
Lefl Input —— — Left Output
=
— Left Shift come
Eo - КЕ р
Do
||
|
ее
— Righl Shift Frid
- нана O]'1
- Ta
Right Input-————=— | | a | | | — Right Output
В —. Right Delay! ; : |
Se . a.
Output Levels & Pans
ен i |
Right Feedback 2
| | E +
Ea | { Patch | pi
: | | 1 vr |
< (Patch |
Right Feedbeck |
Parameters
#0 L. Coarse/Fine -3600 to 3600 cents Modulation
#3 R Coarse/Fine -3600 to 3600 cents Modulation
The left and right coarse/fine parameters control the amount of pitch shift in the left and right channels. Press once to
adjust the value in 100 cent increments, press again to adjust in 1 cent increments.
#1 L Pitch Delay 0 to 675 milliseconds Modulation
#4 R Pitch Delay 0 to 700 milliseconds Modulation
These adjust the amount of delay for the left and right pitch shifters. The adjustment is in milliseconds.
#2 L Delay 0 to 675 milliseconds Modulation
#5 R Delay 0 to 700 miliseconds Modulation
These control the amount of delay for the left and right dry delay taps.
#6 Mix 0 to 100 per cent Modulation
This controls the overall wet/dry effect mix for this effect.
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#7
#8
Feedback 0 to 10.0 milliseconds Modulation
This 1s a "global" scaling control for the amount of feedback. This has the effect of controlling all four feedback
levels at once.
Image L<->R to R<->L Modulation
The "Image" control determines the width of the output stereo field. This works in conjunction with the expert "Pan"
parameters.
Expert Parameters, Outputs
#9 L Pitch Level -100 to 100 per cent
#10 R Pitch Level -100 to 100 per cent
#11 LL Delay Level -100 to 100 per cent
#12 R Delay Level -100 to 100 per cent
These four parameters control the output levels of the left and right pitch shifiers and the left and right dry delay taps.
Negative settings will invert the phase of the audio signal.
#13 L Pitch Pan Pan Left to Pan Right
#14 R Pitch Pan Pan Left to Pan Right
#15 L Delay Pan Pan Left to Pan Right
#16 R Delay Pan Pan Left to Pan Right
The four pan controls are used to set the left/right panning of the left and right pitch shifts and the left and right
delays.
Patching
#17 L Feedback 1 -100 to 100 per cent
#18 L Feedback 2 -100 to 100 per cent
#21 R Feedback 1 -100 to 100 per cent
#22 R Feedback 2 -100 to 100 per cent
These control the amount of feedback for the two feedback paths of the left pitch shifter. This value is scaled by the
main feedback control. (The non-expert parameter.)
#19 Left fb1= | pitch, r pitch, I delay or r delay
#20 Left fb2= I pitch, r pitch, 1 delay or r delay
#23 Right fbl= | pitch, r pitch, 1 delay or r delay
#24 Right fb2= 1 pitch, r pitch, | delay or r delay
This parameter selects which source is to be fed back into the first feedback point of the left pitch shifter. Pressing the
softkey will scroll through the various sources. Warning: Be careful. Certain combinations of feedback sources can
result in an unstable program. Keep the volume low while adjusting the feedback parameters.
Control
#25 L Direction Forward or Reverse
#29 R Direction Forward or Reverse
When this parameter is set to "reverse", the left pitch shifter is set to reverse pitch shift mode (exactly like program
104). The reverse shift length is set by the splice length control.
#26 L Xfade Slow or Fast
#30 R Xfade Slow or Fast
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This parameter selects between two different pitch shifting modes. "Fast" is exactly like our old pitch shifters.
"Slow" is intended for small pitch shift amounts, such as micro-pitch applications. This allows us to have virtually
glitchless micro-pitch shifting.
#27 L Deglitch On or Off
#31 R Deglitch On or Off
This parameter controls whether "deglitching" is to be turned on or off Normally, this should be set to "on" When set
to "off", signal analysis stops, and the pitch shifter works with a fixed "splice" interval. This may be useful for some
micro-pitch applications where the stereo image shift due to deglitching is annoying.
#28 L Splice 1 to 700 milliseconds
#32 R Splice 1 to 700 milliseconds
This control sets the maximum splice length. This control is equivalent to the "minimum" frequency control of the
TimeSqueeze® program or the "low note" control of the other pitch shifters. To deglitch lower notes, set this
parameter to a higher value. To shift the low E on a guitar, this should be set to 13 milliseconds. To shift the low E
on a bass, this should be set to 26 milliseconds. For optimum pitch shifting, this parameter should not be set any
higher than necessary. Note: When this parameter is set to 43 milliseconds or higher, deglitching is automatically
turned off. The large splice values are intended for reverse pitch shifting or special effects.
Levels
To access the level adjustment parameters, press the softkey labelled "levels" on the last parameter page. Pressing
Tetu" will bring you back to the normal parameter pages.
#34 Left In -48 to 48 dB
#35 Right In -48 to 48 dB
#36 Left Out -48 to 48 dB
#37 Right Out -48 to 48 dB
The level parameters allow individual level adjustments to be edited and saved with each user preset. All of the level
adjustments are made in dB and are added to the master level adjustments. The master level adjustments are those
made after pressing the "levels" key beneath the bargraphs.
Hint: For best pitch shift quality, make sure that the pitch shifter delay is set to something more than zero. This gives our
software time to properly analyze the input signal. Usually, setting the pitch delay to the same value as the splice-
time gives good results.
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Algorithm 117 - Band Delay SE + D/SE + H3500
Description
This algorithm is a multi-tap delay line, with each of its eight delay outputs connected to a separate bandpass filter.
The outputs of the eight bandpass filters are combined in a stereo mixer. Many unusual effects can be created by
adjusting the parameters of the bands. For keyboard players, the center frequencies of the filters can be easily set to
musical values by playing notes on a MIDI keyboard.
Block Diagram
Output 1
— Delay 1— Filter |-> Pan
; Sutput 2 —\
~ Delay 2— Filter 2) Pan NO
; | Output 3 = \\
-—— Ое!ау З—— Filter 3 > Pan 2 N \
| | x, NO
Left In — — Delay + Filter BR A не Left out
Right In— = — Delay 5-— Filter > Right Out
: TT a aaa Tr ‚ В
— Delay 6 — Filter 6: 7, T7
: Qutpu! 7 | i ok
. ; f i > SE jf NY Qutput Faedoaci
— Delay 7+— Filter Phd > Pan; / y “pa Ten
| | 21/7
; Output 5 —//
~— Delay 8— Filter 8—— >— Pan
; con amt
— Feedback Delay — —>—
Parameters
#0 Delay 0 to 100.00 per cent Modulation
This 18 a "master" delay parameter which scales the eight individual delay values. A setting of 100 percent will yield
maxunum delay, while smaller values yield proportionately smaller delays. Note: The knob will give you a coarse
adjustment. The up/down arrows will give you a fine adjustment. This is true for several of the parameters here.
#1 Frequency -128 to 128 notes Modulation
This parameter is the "master" frequency control. The frequencies of all eight bandpass filters can be controlled with
this parameter. The frequency value here is added to the individual frequency setting of each filter. The frequency
value 1s adjusted in semitones, allowing the musical pitch of the filters to be easily set.
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#2 Q Factor 0 to 100.00 per cent Modulation
This simultaneously scales the О factor, or "resonance" of all of the filters. The filters are such that the higher the Q
factor, the higher the gain through the filter. But since a smaller band of sound is being let through, the perceived
gain 1s about the same. However, you should be careful when using high Q factors since they can distort the signals.
#8 Global Pan L-RtoR-L Modulation
The Global Pan parameter controls the width of the stereo field.
#58 Feedback Delay 0 to 1485.0 milliseconds Modulation
This parameter determines the amount of delay in the feedback loop. This, in combination with the feedback
parameter, can be used to set up a digital delay repeat loop.
459 Feedback -100.00 to 100.00 per cent Modulation
This controls the amount of feedback.
#3 Mix 0 to 100 per cent Modulation
This controls the wet/dry output mix. A setting of 100 per cent corresponds to full wet effect.
Expert Parameters
#9, 15, 21, 27, 33, 39, 45, 51 F1-8 Frequency 0 to 12800 cents
These eight parameters are the center frequencies for each of the filters. The values are adjusted in cents. Cents are a
musical measure of frequency, where 100 cents is equal to one semitone, If you are using MIDI to set the filter
frequencies, set all of these to zero.
#10, 16, 22, 27, 34, 40, 46, 52 F1-F8 Q Factor 0 to 999
These parameters control the individual Q factors for the eight filters. 0 corresponds to a very gentle bandpass filter,
while higher settings yield an increasingly narrow, more resonant filter, A setting of 999 will give a filter that is
almost oscillating, one which will ring for a long time after any input is gone. Normally, these are all set to 999 and
the global Q factor is used to adjust the value of all of the Q factors simultaneously.
#14, 20, 26, 31, 38, 44, 50, 56 F1-F8 Note Cx to GY
Like the frequency parameters above, these adjust the center frequencies of the filters. Here, the filter frequencies are
shown as actual musical notes. For example, if the Note 1 is set to G#4, filter 1 will be tuned to G#4. In addition to
setting these parameters from the front panel, a MIDI keyboard can be used to adjust the note values. See below for a
description of the MIDI "Note Modes".
#57 Note Mode off, routed, ordered, circular
This parameter determines how notes played on a MIDI keyboard will set the above mentioned "Note" parameters.
The modes are:
"Off" MIDI will not affect the note settings.
"Routed" This is perhaps the most intuitive mode. Each time a new note value is received (i.e.. a key
15 pressed), the filters are tuned to the currently pressed keys. Filter 1 is tuned to the lowest
note, filter 2 is tuned to the next lowest, and so on. Ifless than 8 keys are pressed, the notes
will be repeated, until all filters are tuned. As a consequence, holding only one note down
will tune all of the filters to the same note.
"Ordered" Filter 1 gets tuned to the first note that is played, filter 2 is tuned to the next note, and so on,
up to filter 8. Releasing all of the keys will reset this mode, i.e., the next note received will
tune filter 1.
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"Circular" This ts like "Ordered”, with the exception that it doesn't reset to filter 1 after an "all notes
off” condition. The filter tunings continue circulating from 1 through 8 as more notes are
received.
#11, 17, 23, 28, 35, 41, 47, 53 F1-F8 Delay 0 to 1496.0 milliseconds
These are the individual delays for each of the eight filters. The actual delay will depend on the setting of the global
delay parameter. The delay value shown assumes that global delay is set to 100 per cent.
#12, 18, 24, 29, 36, 42, 48, 54 Fi-F8 Output -100 to 100 per cent
The output levels for the eight filters are set with these parameters. Generally it is a good idea to set the output levels
to alternating positive and negative values in order to cancel out extremely low frequencies.
#13, 19, 25, 30, 37, 43, 49, 55 F1-F8 Pan left to right
Each of the filters can be panned anywhere in a stereo mix. These eight parameters determine where each of the
filters 1s to be panned. To change the panning, simply use the knob to move the "*" to the desired location in the
stereo field.
Levels
To access the level adjustment parameters, press the softkey labelled "levels" on the last parameter page. Pressing
‘return’ will bring you back to the normal parameter pages.
#4 Left In -48 to 48 dB
#5 Right In -48 to 48 dB
#6 Left Out -48 to 48 dB
#7 Right Out -48 to 48 dB
Hint: The filter frequencies are controlled by three sources, the global frequency, the individual frequencies, and the
individual notes. These parameters represent musical pitch, and the final tuning of the filter is determined by adding
the values together. Ifthe filter 1 settings are:
Global Frequency: -12.00
F1 Frequency: 200 cents
FI Note: C4
The tuning of filter 1 is:
C4 + 200 cents - 12 semitones.
Since 200 cents 1s equal to two semitones, the actual tuning is:
C4 - 10 semitones, or, 10 semitones below C4, or, D3
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Algorithm 118 - String Modeller SE + D/SE + H3500
Description
This algorithm is a bit of a departure from our usual. Instead of just processing audio, the String Modeller algorithm
can create sounds of its own. This algorithm digitally simulates a set of six strmgs. When processing audio input,
these strings act as passive resonators, yielding a sound similar to singing into a piano while holding down the damper
pedal. To generate some amazingly realistic sounds, the "strings" can be "plucked" by playing notes on a MIDI
keyboard. In this mode, the H3000 acts like an extra synthesizer module in your MIDI rack.
Block Diagram
Le mel Е Doi. — Detail OÍ Chorus _
> e | — {+} = ut
eT TEE —
Ш — с. | HE UIX je — Delay >
A | — В t i
a or {= — Out
Parameters
#0 Pitch -100.00 to 100.00 notes Modulation
This parameter controls the overall tuning of the string resonators. The tuning is displayed in semitones, and is
relative to the standard tuning of A440.
#7 Offset -100.00 to 100.00 notes Modulation
This parameter is very similar to the "Pitch" parameter in that it also controls the tuning of the string resonators,
However, "Offset" affects only incoming MIDI information, altering the pitch in relation to any subsequent MIDI
note messages that are received.
#1 Decay 0 to 100 Modulation
The "Decay" parameter controls the length of the note decay after it is triggered from a MIDI keyboard. This affects
the sound while a key is being held down. Larger values of this parameter result in longer note decay times.
#2 Release 0 to 100 Modulation
The "Release" parameter controls the length of the note decay after a key is released (a MIDI "note-off" message is
received).
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#3
#4
#6
#8
#9
#10
#11
#12
#13
#14
HIS
#16
Sustain on or off Modulation
This parameter functions very much like a sustain pedal on a synthesizer. Setting "Sustain" to "on" will sustain any
notes received (limited by the available voices). When playing with a MIDI keyboard, this parameter can be patched
to the sustain pedal. Patch "Sustain" to "Undefined Small #64" to get a standard MIDI Sustain Pedal.
Gate 1 to 100 Modulation
The "Gate" parameter controls the characteristic attack sound of the plucked string. High settings of the gate
parameter result in louder, buzzer string sounds. Small settings of this parameter result in soft, sharp plucking
sounds.
Gate Mode Normal, Keyed or Open
This parameter selects different triggering modes for the string resonators. Here is a description of the three available
modes:
"Normal" triggers a new plucked string for each key pressed (MID! “note-on" message received). The
envelope of the sound is determined by the “decay” and "release" parameters.
"Keyed" 1s vaguely similar to the action of a bowed string. When a key is held down, the string resonator is
constantly simulated with filtered noise. When the key is released, the string decays according to the setting
of the "release" parameter. The "decay” parameter is ignored for this mode.
“Open” will stimulate the strings constantly, regardless of whether any keys are pressed. In this mode, the
keyboard will "tune" the resonators, but will not affect the dynamics of the sound. The "decay" and “release”
parameters are ignored in this case, since the strings are always stimulated at full level. Warning: This
mode can be quite loud. Turn down your levels before playing with this parameter.
Hold on or off Modulation
This parameter, when set to "on", will inhibit MIDI from affecting the tuning of the string resonators. This is useful
for using a MIDI keyboard to tune the strings to be used as passive resonators.
Freq 0 low to 100 Modulation
This parameter controls the center frequency for the stimulation noise filter. This parameter will affect the resultant
tone of the plucked string resonators.
Qfac 0 to 100 Modulation
This parameter controls the resonance of the noise filter. High values will result in a very resonant filter.
Bright 0 to 100 Modulation
This controls the tone of the decaying string. Low settings of brightness will give a warmer decay.
High Amt -100 to 100 per cent Modulation
Band Amt -100 to 100 per cent Modulation
Low Amt -100 to 100 per cent Modulation
These parameters contro! the relative amount of highpass, bandpass, and lowpass noise that is used as the string
stimulation. With these, and the frequency control, you can shape the tonal characteristic of the plucked string sound.
In Amt -100 to 100 per cent Modulation
This parameter controls the amount of external input signal feeding the string resonators. This is usualiy used when
the strings are acting as passive resonators. See "Tips and Tricks" to set up passive resonators.
Chorus 0 to 100
This is the amount of chorus that is mixed into the output signal.
Speed 0 to 100
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#17
#19
This is the speed of the chorus sweep. Large values will give a faster rate, and a more intense chorus.
Depth 0 to 100
This is the range of delay that the chorus will sweep. The maximum value of 100 corresponds to a sweep range of
about 300 milliseconds.
Mix 0 to 100 per cent Modulation
This is the wet/dry effect mix. A setting of 100 per cent will result in a full wet effect output mix.
Expert Parameters
#25
#26
#27
#28
#20
#21
#22
#23
#24
#29-34
#35-40
Levels
#41
#42
#43
#44
V Decay -100 to 100
V Gate -100 to 100
V Level -100 to 100
Y Bright -100 to 100
These parameters control how much the received MIDI key velocity affects the particular parameter. If you set "V
Level" to a positive number, then the harder you hit, the louder the voice is. The other parameters act similarly. A
negative value reverses the effect.
K Decay -100 to 100
K Gate -100 to 100
K Level -100 to 100
K Bright -100 to 100
K Release -100 to 100
These parameters scale the keyboard to the parameters. A positive number for "K Level" causes the higher note on
the keyboard to sound louder. For "Decay" and "Release" a -12 gives an even envelope across the keyboard range.
À value of 12 for "K Gate" gives a natural sounding pluck across the keyboard.
Note 1-6 notes Cx to G9
Start 1-6 0 to 127
These parameters are included so that you can manually set the string tunings (without a MIDI keyboard). They are
automatically set when you play on the MIDI keyboard. The "Note" is the note to be played. The "Start" is the value
derived from the velocity and is used for velocity scaling.
To access the level adjustment parameters, press the softkey labelled "levels" on the last parameter page. Pressing
“return” will bring you back to the normal parameter pages.
Left In -48 to 48 dB
Right In -48 to 48 dB
Left Out -48 to 48 dB
Right Out -48 to 48 dB
The level parameters allow individual level adjustments to be edited and saved with each user preset. All of the level
adjustments are made in dB and are added to the master level adjustments.
Interesting Ideas
Instead of using noise to stimulate the strings, use the external input. If you play your synth into the input, the strings
will take on some of the character of your synth sound.
To set up this algorithm as a sympathetic resonator, set "high amt", "band amt" and "low amt” to 0. Set "in amt" to
about 20 per cent and set the gate mode to "open". The strings will now resonate with the input signal. The strings
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can be tuned either manually (by setting the "note" parameters) or with a MIDI keyboard. If you've set up a tuning
with MIDI and you desire to save it, set "hold" to "on" and save a preset. Once hold is set to "on" MIDI will no
longer affect the tuning.
Things to be Aware of
When modulation 1s patched to some of the parameters, the parameters will be changed after the MIDI notes are
received.
If many parameters are being modulated, the MIDI response may be a bit sluggish.
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Algorithm 119 - Phaser SE + D/SE + H3500
Description
This algorithm is a mono-in, stereo-out phase shifter, similar in theory to a guitarist's foot-pedal phaser. The dry
signal is mixed with the phase-shifted signal (created by a series of all-pass filters) to produce a series of notches,
whose frequencies can be swept by altering the filter characteristics. The sweep can be done by an LFO, an envelope
follower, or an ADSR shape which is triggered by MIDI or by the envelope follower. The envelope or ADSR can
follow either the audio signal on channel 1, or a different signal on the other channel (channel 2).
Block Diagram
envelope follower
sweep | adsr
+,
|
>... _ x vv... x ¥ Y DL E E | 0e |
— ; Dos o Do: TT. mu | Liar Tis
Left Input »—r-d + +9 AP [0 AP 2-0 AP 3-H AP 41 AP 5H AP 61h AP YAP 8k AP 9 HAP 10 AP 116HAP 125
|
feedback
i o
(1-mix) mix mix N 7
|
к \ !
ur À.
/ `
un
TT
— Left Output
— Right Output
Parameters
#0 Mix 0 to 100 per cent Modulation
This parameter controls how much of the phase-shifted signal is present in the final mix. At 0, the output is
completely dry. At 100, the output contains only the phase-shifted signal and will have the same frequency response
as the dry signal if the feedback is 0. At 50, the mix is equal and has the deepest notches if the feedback is 0. For
best result, do your mixing with this parameter, rather than with a console mixer.
#1 Feedback -100 to 100 per cent Modulation
This parameter controls the amount of feedback in the phase-shifted signal. With 100% feedback, no more dry signal
ts admitted into the phase-shifter loop, and the loop will resonate.
#2 Sweep Rate 0 to 100 per cent Modulation
This controls how fast the LFO sweeps if in LFO mode. This parameter 1s not visible on the front panel when not in
LFO mode.
#3 Envelope Decay Rate 0 to 100 per cent Modulation
The envelope follower tries to track the peaks of the input signal. It has an instantaneous rise time, and this parameter
1s how fast it decays. This parameter appears on the main menu screen in envelope mode, and can be accessed as an
expert parameter from other modes as well.
The Factory Programs 99
#4
#5
#6
#7
ADSR Rate Scaler 0 to 100 per cent Modulation
This just scales down the Attack, Decay, and Release rates of the ADSR. This does not appear on the front panel
when not in ADSR mode.
Sweep Mode 0 (sweep), 1 (envelope), or 2 (adsr)
This switch is used to patch either the LFO, the envelope, or the ADSR to control the allpass filter frequencies (and
therefore the notch frequencies).
Sweep Bottom 0 to 100 per cent Modulation
The frequency to be used at one extreme of the sweep in LFO mode, or when the envelope or ADSR are at their low
points. Please note that this frequency may be set higher than the sweep top if you desire to invert the envelope or
ADSR.
Sweep Top 0 to 100 per cent Modulation
The frequency to be used at the other extreme of the sweep in LFO mode, or when the envelope or ADSR are at their
peaks. See sweep bottom.
Expert Parameters
#8
#9
#10
#11
#12
#13
#14
#15
ADSR Attack Rate 0 to 100 per cent Modulation
This controls the attack segment of the ADSR. This amount (multiplied by the ADSR rate scaler) is added to the
ADSR level until it reaches the top, at which point it enters the decay segment. If a MIDI trigger is received in the
attack phase, it will just continue to attack.
ADSR Decay Rate 0 to 100 per cent Modulation
Ths controls the decay segment of the ADSR. This amount (multiplied by the ADSR rate scaler) is subtracted from
the ADSR level until it reaches the sustain level, at which point it enters the sustain phase. If a MIDI trigger is
received during the decay segment, the attack segment is immediately reentered.
ADSR Sustain Level 0 to 100 per cent Modulation
The ADSR will stay at this level until the envelope follower goes below the release threshold, at which time it enters
the release phase. If a MIDI trigger is received during the sustain portion, the attack segment is immediately
reentered.
ADSR Release Rate 0 to 100 per cent Modulation
During the release segment of the ADSR, this amount (multiplied by the ADSR rate scaler) is subtracted from the
ADSR value until it reaches 0, or until the envelope follower goes above the attack threshold, at which time it enters
the attack segment once again. If a MIDI trigger is received during the release segment, the attack segment is
immediately reentered.
ADSR Attack Threshold 0 to 100 per cent Modulation
Thus 15 the level that the envelope follower must rise above in order to begin the ADSR in its attack segment.
ADSR Release Threshold 0 to 100 per cent Modulation
When the envelope follower falls below this level, the ADSR may enter the release segment from the sustain segment.
ADSR Trigger Trigger only Modulation only
This parameter does not appear on any menu, but can be patched to a MIDI event to trigger a new ADSR, starting
from the attack segment.
Envelope Channel 0 (channel 1) or 1 (channel 2)
This switch determines whether the envelope is to follow the signa! which is actually being phase-shifted (0) or the
signal in the other channel (1).
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#16
Levels
#17
#18
#19
#20
Hint:
Envelope Decay Shape 0 (linear) or 1 (exponential)
This switch controls whether the envelope decays in a linear fashion (0), or whether the envelope's decay slows down
gradually as the level decreases (1).
To access the level adjustment parameters, press the softkey labelled "levels" on the last parameter page. Pressing
"parameter" will bring you back to the normal parameter pages.
Left In -48 to 48 dB
Right In -48 to 48 dB
Left Out -48 to 48 dB
Right Out -48 to 48 dB
The level parameters allow individual level adjustments to be edited and saved with each user preset. All of the level
adjustments are made in dB and are added to the master level adjustments. The master level adjustments are those
made after pressing the "levels" key beneath the bargraphs.
For best result, do not mix any dry analog signal with the phaser output, as this will affect the phasing. Instead, use
the Mix parameter; this gives the best control over the effect. The phaser works well with guitar or other sounds rich
in harmonics. Envelope or ADSR mode are subtler effects; adding more feedback can bring the effect a bit more
forward. In ADSR and envelope modes, you can invert the envelope shape by switching the values for top and
bottom frequencies.
The Factory Programs 101
Algorithm 120 - Studio Sampler H3500, available as an upgrade option
for all other units
Description
Ths algorithm will digitally record 11.8 seconds of stereo or 23.7 seconds of mono audio (47.5/95 if you bought the
H3000 - dfx/e). Two separate samples can be recorded into memory and played back using front panel buttons, audio
triggering, or with a MIDI keyboard. The begin and end points of the two samples can be edited using "rock 'n' reel"
style editing. Also, the pitch of the samples can be shifted over a six octave range, without altering the playback
length. Conversely, the length of the sample can be altered without changing pitch. This allows independent control
of the length and pitch of the recorded samples.
Block Diagram
MIDI Play 1
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MIDI Play 2
New for Version 1.31
Stereo samples are now re-triggerable. In previous versions, audio triggering of stereo samples required that the
entire sample be played out before it could be re-triggered.
The Factory Programs 102
Additional trigger keys have been added to allow easy auditioning of samples while adjusting the pitch, time, attack
and release parameters.
Recording
After loading the Studio Sampler program, the display will show the sample memory being cleared and will then
present this menu:
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Press “Record 1" or "Record 2" to select which of the samples you wish to record to. The display will then show the
"set trigger" menu.
At this point, the LCD display will show a VU meter indicating the recording level, and the H3000 will be passing its
audio input to both output channels. To use the audio source to trigger the recording, use the knob to adjust the trigger
threshold relative to the VU reading. The small "t" will show the location of the trigger threshold. Press "-trg en-" to
enable the audio trigger for recording. To manually start the recording, press "-record-". To cancel the recording,
press the parameter key. To stop recording, press "--stop--".
Once the sample is recorded, the display will return to the main menu, and will probably be flashing the message "--
analyzing--". This indicates that the H3000 is analyzing the newly recorded sample for the purpose of time alteration
and pitch shifting. If you wish to play back the sample without pitch shift or time scale modification, disregard the
flashing message; the playback will be perfectly normal. If, however, you wish to shift the pitch or change the time of
the sample, you may hear some "glitches” in the output. These will disappear once the "analyzing" message has
stopped flashing.
Playback
To play a sample that was recorded into memory, press "play 1" or "play 2". The two keys will play samples 1 and 2
respectively. In mono mode, sample 1 will be played in the left output channel and sample 2 will be played in the
right output channel. In stereo mode, each sample uses both output channels, and only one sample may be played at a
time. Pressing the play keys repetitively will re-trigger the samples, creating a "stutter" effect.
Press "stop” to stop the playback of both of the samples.
Use pitch 1 and 2 to control the pitch of the samples.
Use time 1 and 2 to stretch or compress the samples in time.
To loop" the samples (1.e., play them back repetitively, in an infinite loop) press and hold the appropriate play key
for about 1 second. The display will show "--looping--", when the sample is in loop mode. To disengage the loop
The Factory Programs 103
mode, press the appropriate play key; the loop will play out to the end of the sample. To stop the sample immediately,
press “stop”.
Editing
Press the "-edit 1-" and "-edit 2-" keys to edit the start and end points of the two samples. Then press the "start" key
to edit the start point of the sample, or press the "stop" key to edit the stop point of the sample. Tuming the knob will
control the start and stop points, and the display will indicate the times in seconds. The audio output will mimic the
effect of an analog tape recorder that is being manually shuttled back and forth to find an edit point. Think of the
knob as a reel on that imaginary tape recorder. (Note: Because of the quantized nature of the front panel controls,
turning the knob very slowly will not shuttle the edit point.) Press "play" to quickly preview the edit.
If the sample to be edited was "looping" when edit mode was entered, the editing function is slightly different. The
audio will continue looping while the start and stop points are changed. The knob will still contro! the edit points.
Simply adjust the start and stop points until the loop sounds right.
To play the sample backwards, set the stop time larger than the start time. Playback will always begin at the start
point and end at the stop point, regardless of the settings.
Parameters
#0 Pitch 1 -3600 to 3609 cents Modulation
#1 Pitch 2 -3600 to 3600 cents Modulation
This parameter controls the playback pitch of sample 1 and 2.
#2 Time | 0 to 800 per cent Modulation
#3 Time 2 0 to 800 per cent Modulation
This parameter controls the playback speed of the sample, independent of pitch. A setting of 100 per cent will result
m normal speed playback. Higher settings will "compress" the sample in time, resulting in higher speed playback,
without altering the pitch of the sample.
#4 Attack 1 1 to 1000 milliseconds
#5 Attack 2 I to 1000 milliseconds
Attack | and 2 control the length of the attack portion of the envelope of two samples.
#6 Release 1 1 to 1000 milliseconds
#7 Release 2 1 to 1000 milliseconds
Releasv | and 2 control the length of the release portion of the envelope of samples 1 and 2. The release portion
begins at a point before the preset stop time such that the end of the envelope will coincide with the end of the sample.
A press of the "stop" key or the reception of a note off command (when triggering with MIDI) will cause the sample
to begin its release phase early.
Attack Time Release Time
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#8 Мих 0 to 100 per cent
The mux control allows the dry input signal to be mixed in with the output of the sampler. A setting of 0 per cent will
allow only the input signal to be heard at the outputs, and a setting of 100 per cent will pass only the sampler output.
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Expert Parameters
Triggers
#9 Trigger Mode off or audio trigger
The Trigger Mode parameter is used to enable or disable audio level triggering of the sample playback.
#10 Threshold 1
#11 Threshold 2
These two parameters determine the threshold at which an audio signal will trigger sample playback. Threshold 1 is
used for the triggering of sample 1 by the left input channel and Threshold 2 is used for sample 2 with the right input
channel.
MIDI
#12 MIDI] Mode off, keyboard split, or layered (mono only)
MIDI Mode determines how MIDI note events will trigger the sample playback.
Keyboard Split mode allows the MIDI keyboard to be split into two zones, determined by the Key Split parameter.
Notes played below the split point will trigger sample ] and notes played above it will trigger sample 2. In mono
mode, the playback will be polyphonic (two voice) while in stereo mode, only | voice may sound at a ime.
Layered Mode, only offered while in mono record mode, will trigger both samples 1 and 2 from a single MIDI note
event. This is useful to create thick layered sounds. It can also be used to fatten monophonic sounds by setting the edit
points of sample 1 and 2 to the same values. By subtly altering the pitches and playback times of sample ! and 2, a
very convincing double track effect may be obtained.
#13 Base Note C-1 to CS
#14 Base Note 1 C-1 to C8
#15 Base Note 2 C-1 to C8
The Base Note determines which MIDI note will give a non-pitch-shifted playback. Playing above the base note will
shift the pitch upward; playing below will lower the pitch. The Base Note parameter is used with the "layered" MIDI
mode and Base Note 1 and 2 are used for the "Key Split" MIDI mode.
#16 Split Point C-1 to C8
The split point parameter is used only in conjunction with the "Keyboard Split" MIDI mode. Notes played below the
split point will trigger sample 1; those played above will trigger sample 2.
#17 Drum Trigger off or on
The drum trigger enable is used in conjunction with MIDI trigger of the samples. When drum tnggering is on, a
single note-on message will play the entire sample; the note off will be ignored. For normal, keyboard-type playback,
this parameter should be set to "off".
Sampler Control
418 Shift Mode constant length, generic sampler
Ín constant length mode, splicing is used to shift the pitch of the sample without changing the playback length. In
generic sample mode, the sample is simply played back faster or slower to alter the pitch.
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#19 Record Mode monophonic, stereophonic
The Record Mode setting determines whether the H3000 records in stereo or mono. The record mode should only be
changed before recording a new sample. More specifically, a sample recorded in mono cannot be changed into a
stereo sample by changing this parameter. Also, when the record mode is set to stereo, the available recording time
will be halved and only one sample may be played back at a time.
To help you save time when you wish to record a stereo sample, we have provided algorithm 121. The default of this
algorithm 1s set to stereo, thus saving you the tedium of changing the default of the mono/stereo option parameter
when you wish to record a stereo sample. Therefore, when you wish to record a mono sample, we suggest you use
algorithm 120. When you wish to record a stereo sample, use 121.
The Factory Programs 106
Using mod factory™
mod factory for the Eventide H3000 is a collection of two new algorithms and one hundred preset effects patches that add a
new angle to the already impressive effects repertoire of the H3000. With this software, effects such as delay ducking, BPM
delays and sweeps, compression, manual flanging, smooth autopanning, audio triggered sweeps and much, much more are now
possible.
The two algorithms of the mod factory software are designed with the era of analog synthesis in mind. Each algorithm gives
the user access to a dozen or so basic digital signal processing "modules". Using software "patch cords”, the user can connect
the modules to create literally thousands of unique signal processing algorithms. To learn more about creating your own
effects patches, look at the patching section in the algorithm descriptions.
If the idea of creating your own effects algorithms makes you weak in the knees, don't worry. We've included a very
comprehensive and useful collection of effects patches that should keep you very happy. Dial up program numbers 800 and up
on your H3000 to see for yourself.
Basics
The mod factory algorithms and presets essentially work like any other H3000 effects program, with some minor differences.
The two new algorithms, mod factorylone, and mod factoryltwo can be found at program numbers 122 and 123. The hbrary of
presets that we've created is located at program number 800 and beyond.
In order to make the presets easy to use, we've made extensive use of "soft knobs", found when you first press the "function”
key. In addition, the mod factory algorithms have a tricky feature that might make your life a bit easier; when a mod factory
preset 1s saved, the current page of parameters is remembered so that it will show up the next time the preset is loaded. This
allows you quick access to your favorite page of parameters.
There 1s one thing to watch out for. Because of the modular, patchable nature of the mod factory algorithms, some of the
parameters may have no audible effect on a particular patch. This would occur if, for example, the delay blocks were not
“patched” into the signal chain. You could still change the "delay" parameters, but because the audio was not going through
the delay module, you would not hear any effect on the sound.
Our final word of advice is to feel free to experiment. Play with things, let your imagination run wild. Use your ears as your
guide to what works and what doesn't. Don't be afraid to try unusual patches; you just might create that next hot sound. Good
luck and enjoy!
mod factory software and manual © 1992 Crescent Engineering. mod factory is a trademark of Crescent Engineering.
The Factory Programs 107
Algorithm 122 - mod factory|one B+ » B/LT » D/SX + D/SE - 3500
Description
This 1s a "modular” effects processing algonthm. Software "patch cords" can be used to connect the processing modules shown
below in any desired configuration. The main building blocks are a pair of sweepable delays, a pair of state-variable filters,
two low-frequency oscillators, two envelope detectors, and two amplitude modulators.
Block Diagram
Mod Knobs, Mix and BPM Control
The Modulation Knobs are specially designed controls that convert the digital, quantized nature of parameter entry on the
H3000, to a smoother, analog-style control. This is very useful for creating effects such as manual flanging and filter sweeps.
Mod Knobs 1 and 2 produce signals that can be patched to the modulation inputs of the any of other module. To create a
manual flanger, the output of Knob 1 would be patched to the modulation input of delay 1. By mixing the delayed and
undelayed signals a very simple flanger has been created. To modulate the delay, simply press "knob 1" and turn the knob on
the H3000.
#30 Knob 1 0 to 100,0 per cent Modulation
#31 Knob 2 0 to 100.0 per cent Modulation
These parameters control the value of the modulation output of Mod Knobs 1 and 2. A value of zero will produce a zero
output, and a value of 100 will produce a maximum modulation output.
#32 Mix 0 to 100 per cent Modulation
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This controls the wet/dry mix of the H3000. A setting of 100 per cent will give only the effected signal at the outputs.
#33 BPM 30 to 200 beats/min Modulation
The BPM control works in conjunction with the BPM controls of delay 1 and 2 and Ifo 1 and 2. Essentially, this parameter
determines the time value of a beat (quarter note). If the BPM value is set to 60, one quarter note will equal one second. This
feature is extremely useful when delays must be in time to a particular tempo.
In addition to using the knob or keypad to enter the desired tempo, the beats per minute may by set by "tapping" the BPM key.
To "tap in" the tempo, rhythmically press the BPM key 4 times. The time between taps will be taken as the new tempo.
Also, a MIDI controller may be used to "tap" in the tempo. By default, the MIDI Damper Pedal is patched to the BPM tap
control. To set the tempo, simply tap the damper pedal three times. To use a different MIDI controller, go to the MIDI
patching menu, under the "FUNCTION" key on the front panel. If you have difficulty making this feature work, check to see
that the MIDI out of your controller is connected to the MID! in of the H3000 and that the two devices are using the same
MIDI channel.
Filters
The filter modules of this algorithm allow flexible contro! over the timbre within an effects patch. Modulation inputs on the
filter allow dynamic control of the filter cutoff frequency. This can be used to created dramatic envelope filter effects or more
subtle dynamic tonal shaping.
#34 Cutoff 0 to 7000 Hz
#35 Cutoff 0 to 7000 Hz
The cutoff controls the frequency at which the filter effects the audio path. For a low-pass filter, frequencies above the cutoff
frequency will be attenuated. For a high-pass filter, frequencies below the cutoff will be attenuated. For a bandpass filter,
frequencies above and below the cutoff will be reduced. In the case of a bandpass filter, the cutoff frequency is commonly
known as the "center" frequency.
#36 Q Factor 1 1 to 1000
#37 Q Factor 2 1 to 1000
The Q factor controls the amount of resonance of a particular filter. A Q setting of 1 will give a smooth, natural response,
while a setting of 1000 will give a highly resonant, oscillatory sound. Higher Q settings also increase the gain of the filter,
mcreasing the likelihood of clipping. Also, at very high Q settings, lowpass and highpass filters will begin to sound like
bandpass filters because of the high resonance.
#38 Type 1 lowpass, bandpass, or highpass
#39 Type 2 lowpass, bandpass, or highpass
Use this to set the type of filter desired. A lowpass filter will reduce high frequencies, producing a warmer sound. A highpass
filter setting can be used to remove bass frequencies or to produce a thinner sound. Use a bandpass filter to pass a selected
portion of the frequency range or to produce resonant peaks.
#40 Mod Amount 1 0 to 7000 Hz
#41 Mod Amount 2 0 to 7000 Hz
These parameters determine how the modulation input of the filters will affect the cutoff frequency. If set to 1000 Hz, a
maximal change on the modulation input will produce a 1000 Hertz change in the cutoff frequency of the filter.
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Delays
The two delay modules in this algonthm have a variable amount of delay, depending on the hardware configuration of the
H3000. With a standard H3000, each delay line has up to 700 milliseconds of delay. With an Eventide HS322 board, the
maximum delay 15 11000 milliseconds (11 seconds) per delay module. When an Eventide HS395 board is installed, up to
32000 milliseconds (32 seconds) of delay is available per module.
Fach delay module has a modulation input which allow smooth modulation of the delay, allowing for effects such as manual
flanging and dynamic or triggered delay sweeps.
#42 Delay 1 0 to 700, 11000, or 32000 msec
#43 Delay 2 0 to 700, 11000, or 32000 msec
Use this to contro! the amount of delay in the delay modules. This parameter works in conjunction with the Delay BPM setting
to determine the final delay. When strict beat per minute control of delays 1s desired, this should be set to zero.
#44 Delay 1 BPM 0/24 to 96/24 beats
H45 Delay 2 BPM 0/24 to 96/24 beats
The Delay BPM control determines how the master BPM tempo contro! affects the delay. When this is set to zero, the tempo
setting has no effect on the delay time. To get a BPM setting of delay, set the normal delay parameter to zero, and set this to
the number of beats the delay should correspond to. The settings are in 1/24 subdivisions of a quarter note. To get a quarter
note delay. the delay BPM should be set to 24/24. To get an eighth note delay, set this parameter to 12/24. A setting of 8/24
will give quarter note triplets.
#46 Delay 1 Feedback -100 to 100 per cent
H47 Delay 2 Feedback -100 to 100 per cent
This controls how much of the delay's output 1s fed back to its input. Settings other than zero will result in recirculating,
repeating delays.
#48 Loop 1 off or on Modulation
#49 Loop 2 off or on Modulation
To "loop" the delays, i.e, to make them repeat indefinitely, set this parameter to "on". When set to "on" all input to the delay
lines will be blocked, repeating the most recent audio, but preventing any further input.
#50 Delay 1 Mod -500.0 to 500.0 milliseconds
#51 Delay 2 Mod -500.0 to 500.0 milliseconds
The Delay Mod controls determine how much the modulation input affects the final delay. For flanging effects, this should
usually be set to several milliseconds. For chorusing, set this to about 10 or 20 milliseconds. Negative settings will sweep the
delay in the opposite direction. This is useful if sweeping the two delays with the same signal, allowing for a richer sound.
Low Frequency Oscillators
The low frequency oscillators are the modules to use when creating sweep and triggered sweep effects. These oscillators work
in a different way than the H3000 Function Generator, allowing much smoother modulation of delays, filters and gain. The
waveshape of the LFO can be selected from a variety of continuous or audio-triggered waveforms. In addition, the LFOs have
frequency modulation inputs that open up new dynamic sweeping effects.
#52 LFO 1 Frequency 0.00 to 300.0 Hertz Modulation
#53 LFO 2 Frequency 0.00 to 300.0 Hertz Modulation
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These parameters control the frequency of LFO 1 and 2. This works in conjunction with the LFO Beat per Minute control.
When tempo tracking of the LFOs is desired, set this parameter to zero.
#54 LFO 1 BPM 0/24 to 96/24 beats
#35 LFO 2 BPM 0/24 to 96/24 beats
Similar to the Delay BPM control, this parameter allows the master BPM tempo to control the frequency of the LFOs. With
this, effects such as in-tempo autopanning can be obtained.
#56 LFO 1 Waveform sine, square, sawtooth, triangle, exponential sawtooth, exponential triangle, triggered
sine, triggered saw, triggered triangle, triggered exponential saw, triggered
exponential triangle, toggle linear, toggle exponential
#57 LFO 2 Waveform same as above
The LFO Waveform parameter determines the shape of the output of the LFOs. The first 8 waveforms in the list are
continuous; that is, they always do what they do. The next 5 waveforms are audio-triggered. When the level of whatever is
patched to the input of the oscillator goes above the threshold, the oscillator sweeps through one cycle. The last 2 waveforms,
the toggle waves are also audio-triggered. They will alternately sweep up and down with every other audio trigger. This 1s
useful for such things as antopanning, where alternate hits of a drum would cause the input to pan from left to right, then right
to left.
HAS LFO 1 Threshoid 0 to -40 dB
#59 EFO 2 Threshold 0 to -40 dB
The LFO threshold controls the level at which the oscillators are triggered. This parameter only has effect when the oscillator
i1s set to an audio-trigger waveform.
#60 LFO 1 Mod 0 to 300.0 Hertz
#61 LFO 2 Mod 0 to 300.0 Hertz
For continuous LFO waveforms, the oscillator input will modulate the frequency of the LFO. This parameter controls how
much the frequency will change for a full level input to the LFO.
Envelope Detectors
The two envelope detectors are used to modulate various parameters based on the envelope of the signal. The envelope of a
signal 1s simply its level at any given instant, so, the envelope detectors allow us to build effects that vary with the signal level,
The input to the envelope detectors can be patched anywhere, allowing this dynamic modulation to be based on the signal level
of any point in our effects patch.
The envelope detectors each have two outputs, the envelope output and the ducker output. The envelope output 1s what you
would expect, a signal that varies in proportion to the input of the envelope detector. The ducker output 1s a signal that is
useful in building effects that reduce their level in the presence of another signal; i.e. they duck out of the way. allowing you to
hear the other signal. So, the ducker output is normally at a high level. When the input to the envelope detector exceeds a
threshold, the output gets progressively smaller.
#62 Env 1 Attack 0.0 to 1000.6 milliseconds
#63 Env 2 Attack 0.0 го 1000.0 milliseconds
The Attack Time controls how fast the envelope and ducker outputs respond to increases in signal level.
#64 Env 1 Decay 0.0 to 1000.0 milliseconds
#65 Env 2 Decay 0.0 to 1000.0 milliseconds
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The Decay Time controls how fast the envelope and ducker outputs respond to decreases in signal level. Often it is desirable
to have a fast attack time and a slow decay time (especially in something like a compressor).
#66 Threshold 1 0 to -40 dB
#67 Threshold 2 0to-40dB
The Threshold determines the level at which the ducker begins reducing its level. This is very similar to the threshold control
On a Compressor.
#68 Ratio 1 1.0:1 to 100.0:1
#69 Ratio 2 1.0:1 to 100,0:1
The Ratio parameter controls how much the output of the ducker will decrease in relation to the input signal level. If the
ducker output 1s patched to the modulation input of one of the AmpMod modules, this parameter will function similar to the
ratio control on a compressor.
Amplitude Modulator Parameters
The amplitude modulator modules allow the gain of a signal to be smoothly varied. These modules are the basis for
autopanning, compression, ducking, and many other dynamic effects.
#70 AM 1 Amount -200 to 200 per cent
#71 AM 2 Amount -200 to 200 per cent
The Amp Mod Amount determines how much the modulation input effects the gain of the audio signal. A setting of 100 per
cent will give no attenuation for a maximum modulation input and full attenuation for a zero modulation input. When the
amount 1s set to 200 per cent, a maximum modulation input will add 6 dB of gain to the signal.
#72 AM 1 Offset -200 to 200 per cent
#73 AM 2 Offset -200 to 200 per cent
The Amp Mod Offset controls how much gain or attenuation the signal will have when the modulation input is zero.
Mixer Parameters
The four simple two-input mixers are essential in building useful patches. They are used for controlling level, mixing, building
feedback loops and much more.
À mixer ts used to combine two signals with control over the amount and phase of each signal. A mixer can be used to simply
control the level of a signal by patching the B input of a mixer to zero.
#74 Mix 1 A Amount -100 to 100 per cent Modulation
#75 Mix 1 B Amount -100 to 100 per cent Modulation
#76 Mix 2 A Amount -100 to 100 per cent Modulation
#77 Mix 2 B Amount -100 to 100 per cent Modulation
#78 Mix 3 A Amount -100 to 100 per cent Modulation
#79 Mix 3 B Amount -100 to 100 per cent Modulation
#80 Mix 4 A Amount -100 to 100 per cent Modulation
#81 Mix 4 B Amount -100 to 100 per cent Modulation
Each of the mixers has two puts, an "A" input and a "B" input. This is like a mixing console that only has two channels,
channel A and B. The mix amount control is like the fader for that particular input. À setting of 0% means the fader is fully
off. A setting of 100% means the fader 1s fully on. A setting of 50% will cut that channel's level by one-half.
The Factory Programs 112
To invert the phase on a mixer input, use negative settings instead of positive settings. A setting of -100% will give a full "on"
signal that has its phase inverted. A setting of -50% will cut the signal by half and also invert the phase.
Modulation Scalers
The modulation scalers are useful in controlling the gain of a particular modulation signal. They are particularly useful in
allowing MIDI or the softknobs to control a particular parameter. To do this, patch fuliscale into one of the control scalers.
Then, to modulate delay, patch the output of the control scaler into the delay mod input. Then, patch MIDI or a SoftKnob to
control the scaler. Using this method, most parameters can be MIDI controlled.
482 Mod Scale 1 -100 to 100.0 per cent Modulation
#83 Mod Scale 2 -100 to 100.0 per cent Modulation
The Mod Scale Amount determines the amount of attenuation given to the input modulation signal. A setting of 100 per cent
gives no attenuation and a setting of zero turns off the input. Negative settings reverse the polarity of the input signal.
Level Parameters
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here are added
to or subtracted from the "master" levels.
#84 Left In -48 to 48 dB
#85 Right In -48 to 48 dB
#86 Left Out -48 to 48 dB
— 487 Right Out -48 to 48 dB
Patching Parameters
#88 Prg Load Speed slow or fast
The program load speed control is definitely considered an expert parameter. This parameter affects the speed at which
presets are loaded. When set to slow, the loading speed will be noticeably slower than when the load speed is set to fast. The
drawback to the fast load mode is that the contents of delay lines and other internal registers are not "cleared" before the new
patch begins working. This means that if loading a patch with long delay times and/or lots of feedback, the patch may load
with clicks or noise in the output audio.
Here's the basic rule of thumb. If you aren't sure about what to do, set this parameter to slow. If you think you know what
you're doing and have a patch that has a very small amount of delay and little feedback, try setting this parameter to fast. If
you find that the patch loads in a noisy manner, set the mode back to slow.
How to Patch
To create an effects "patch" press (patch). The display will look like:
122 mod factory!one dly 1 in<mixer
This display shows that mixer 1 is patched to dly 1 in. The input is always shown on the left and the output on the right, in the
form input<output. Here, dly I in is the input, and mixer | is the output. To select an input to patch, press ( input ). The
knob will scroll through a list of all available inputs. To re-patch a particular input, scroll the input list until the signal is
shown in the display. Then, press (output). The knob will now scroll through the outputs that may be patched to the
currently selected input. As you turn the knob, you will instantly hear the effect of the signal being repatched.
The Factory Programs 113
An important note of warning! Please, keep your monitor volume low when creating new patches. It is fairly easy to
create feedback loops capable of producing ear and speaker damaging signals. Be careful out there.
One thing to make note of when creating a patch is the difference between audio inputs and modulation inputs, Generally, the
modulation inputs are used to change some parameter of the effect, such as a filter frequency or delay time. In most cases,
patching a slowly changing signal, such as an LFO to a modulation input will result in the most aurally satisfying result. It is
possible and might sometimes be tempting to patch an audio signal directly into a modulation input. The main problem with
this 1s that modulation signals are processed at a slower sample rate than audio signals. Because of this, patching an audio
signal into a modulation input may result in audible aliasing. (Aliasing is a non-harmonic modulation distortion that results
when a digital signal 1s sampled too slowly.) To minimize the potential for aliasing, it is suggested that an audio signal be
passed through a lowpass filter before patching into a modulation input.
The inputs and outputs are shown below:
Inputs
#0 left out The left output of the H3000.
#1 right out The right output of the H3008.
#2 mixia in The "A" input of mixer 1.
#3 mixib in The "В" input of mixer 1.
#4 mix2a in The "A" input of mixer 2.
#5 mix2b in The "B" input of mixer 2,
#6 mix3a in The "A" input of mixer 3,
#7 mix3b in The "B" input of mixer 3.
#8 mix4a in The "A" input of mixer 4.
#9 mix4b in The "B" input of mixer 4,
#10 ami in Amplitude modulator 1 audio input.
#11 ami mod Amplitude modulator 1 modulation input.
#12 am2 in Amplitude modulator 2 audio input.
#13 am? mod Amplitude modulator 2 modulation input.
#14 dly 1 in Delay 1 audio input,
#15 diy1 mod Delay 1 modulation input,
#16 diy 2 in Delay 2 audio input.
#17 diy 2 mod Delay 2 modulation input.
#18 filti in Filter I audio input.
#19 filtl mod Filter 1 modulation input.
#20 filt2 in Filter 2 audio input.
#21 filt2 mod Filter 2 modulation input,
#22 envi in Envelope follower 1 input.
#23 env? in Envelope follower 2 input,
#24 Ifol in Low frequency oscillater 1 modulation/trigger input.
#25 Но2 т Low frequency oscillator 2 modulation/trigger input.
#26 mdscil in Modulation scaler 1 input.
#27 mdscl2 in Modulation scaler 2 input.
Outputs
#0 zero A zero, or "off" signal.
#1 left input The left audio input of the H3000,
#2 right input The right audio input of the H3000.
#2 mixer Î Audio output of mixer I.
#3 mixer 2 Audio output of mixer 2.
#4 mixer 3 Audio output of mixer 3.
#3 mixer 4 Audio output of mixer 4.
The Factory Programs
114
#6
#7
#8
#9
#10
#11
#12
#13
#14
#15
#16
#17
#18
#19
#20
#21
#22
#23
#24
amp mod 1
amp mod 2
delay 1
delay 2
filter 1
filter 2
ducker 1
ducker 2
envelope 1
envelope 2
Ho 1
Ifo 2
knob 1
knob 2
noise gen.
fuliscale
-fullscale
modscale 1
modscale 2
The Factory Programs
Amplitude modulator 1 output.
Amplitude modulator 2 output,
Delay line 1 audio output,
Delay line 2 audio output.
Filter 1 audio output.
Filter 2 audio output.
Ducker 1 modulation output.
Ducker 2 modulation output.
Envelope 1 modulation output.
Envelope 2 modulation output,
Low frequency oscillator 1 modulation output.
Low frequency oscillator 2 modulation output.
Mod knob I modulation output.
Mod knob 2 modulation output.
Noise generator output,
Fuliscale, a maximum positive signal.
Minus fullscale, a maximum negative signal.
Modulation scaler 1 modulation output,
Modulation scaler 2 modulation output.
115
Algorithm 123 - mod factory|two B+ « B/LT » D/SX « D/SE » 3500
Description
This algorithm is a cousin to algorithm #122, mod factoryjone. This too, is a “modular” effects processing algorithm. Software
"patch cords” can be used to connect the processing modules shown below in any desired configuration. The main building
blocks are a pair of sweepable, filtered delays, a pair of detuning pitch shifters, one low-frequency oscillator, one envelope
detector, and two amplitude modulators,
Block Diagram
Mod Knob, Mix and BPM Control
The Modulation Knob 1s a specially designed control that converts the digital, quantized nature of parameter entry on the
F3000. to a smoother, analog-style control. This is very useful for creating effects such as manual flanging and filter sweeps.
The Mod Knob produces a signal that can be patched to the modulation inputs of the any of other module. To create a manual
flanger, the output of Modknob would be patched to the modulation input of delay 1. By mixing the delayed and undelayed
signals a very simple flanger has been created. To modulate the delay, simply press "mod knob" and turn the knob on the
H3000.
430 Mod Knob 0 to 100.0 per cent Modulation
These parameters control the value of the modulation output of Mod Knobs 1 and 2. A value of zero will produce a zero
output, and a value of 100 will produce a maximum modulation output.
#31 Mix 0 to 100 per cent Modulation
Fhis controls the wet/dry mix of the H3000. À setting of 100 per cent will give only the effected signal at the outputs.
The Factory Programs 116
#32 BPM 30 to 200 beats/min Modulation
The BPM control works in conjunction with the BPM controls of delay 1 and 2 , the LFO, and the two detuners. Essentially,
this parameter determines the time value of a beat (quarter note). If the BPM is set to 60, one quarter note will equal one
second. This feature is extremely useful when delays must be in time to a particular tempo.
In addition to using the knob or keypad to enter the desired tempo, the beats per minute may by set by "tapping" the BPM key.
To "tap in" the tempo, rhythmically press the BPM key 4 times. The time between taps will be taken as the new tempo.
Also, a MIDI controller may be used to "tap" in the tempo. By default, the MIDI Damper Pedal is patched to the BPM tap
control. To set the tempo, simply tap the damper pedal three times. To use a different MIDI controller, go to the MIDI
patching menu, under the "FUNCTION" key on the front panel. If you have difficulty making this feature work, check to see
that the MIDI out of your controller is connected to the MIDI in of the H3000 and that the two devices are using the same
MIDI channel.
Detuners
This algonthm contains two detuning modules. The most common use of these modules is to slightly shift the pitch on the left
and right channels to create a very rich chorus effect. Modulation inputs on the detuners allow dynamic control of the amount
of detuning. This can be used to created more realistic chorus effects, dynamic vibrato or wild modulations.
Note: The detune modules used in this algorithm have been optimized for small amounts of pitch shifting. While they are
capable of shifting the pitch over a two-octave range (using the mod inputs), the result will not necessarily be very nice.
#33 Detune 1 -100 to 100 cents
#34 Detune 2 -100 to 100 cents
This parameter controls the amount of detuning. For a moderate chorus effect the left and night channels are usually shifted
plus and minus ten cents.
#35 Delay 1 0 to 90 or 700 milliseconds
#36 Delay 2 0 to 90 or 700 milliseconds
This parameter controls the amount of delay through the detune modules. This parameter works in conjunction with the BPM
setting to determine the final delay. When strict beat per minute control of delays is desired, this should be set to zero.
#37 BPM 1 0/24 to 96/24 beats
#38 BPM 2 0/24 to 96/24 beats
The BPM control determines how the master BPM tempo control affects the delay of the detuners. When this is set to Zero,
the tempo setting has no effect on the delay time. To get a BPM setting of delay, set the normal delay parameter to zero, and
set this to the number of beats the delay should correspond to. The settings are in 1/24 subdivisions of a quarter note. To get a
quarter note delay, the delay BPM should be set to 24/24. To get an eighth note delay, set this parameter to 12/24. A setting
of 8/24 will give quarter note triplets.
#39 Mod Amount 1 -1200 to 1209 cents
#40 Mod Amount 2 -1200 to 1200 cents
These parameters determine how the modulation input of the detuners affects the amount of pitch shift. If set to 10 cents, a
maximal change on the modulation input will produce a 10 cent change in the amount of detuning.
The Factory Programs 117
#41 Fadelength 1 1 to 1000 milliseconds
#42 Fadelength 2 I to 1000 milliseconds
The fadelength parameter controls the nature of the crossfade that occurs when audio segments are spliced together in the
detuner. Large settings of this parameter will generally give the most pleasing results, with the least audible glitching, Small
settings will tend to produce sharper, more noticeable glitching in the output, but will reduce the flanging effect produced by
long crossfades.
#43 Splice Length 1 1 to 700 milliseconds
#44 Splice Length 2 1 to 700 milliseconds
The splice length parameter determines the length of the audio segments that the detuner splices together. (A detailed
explanation of pitch shifting is beyond the scope of this manual.) Longer settings of this parameter will result in less glitches
in the detuned audio, but will result in longer and less predictable delays. Smaller settings of this parameter will result in a
tighter, more predictable delay, but will cause more audible glitching and modulation in the output audio.
Filtered Delays
The filtered delay modules work just like those in mod factory|one with the added feature of adjustable high frequency rolloffs
for each of the delays. This allows for wanm, natural sounding delays.
The two modules each have a variable amount of delay, depending on the hardware configuration of the H3000. With a
standard H3000, each delay line has up to 650 milliseconds of delay. With an Eventide HS322 board, the maximum delay is
11000 milliseconds (11 seconds) per delay module. When an Eventide HS$395 board is installed, up to 32000 milliseconds
(32 seconds) of delay is available per module.
Each delay module has a modulation input which allow smooth modulation of the delay, allowing for effects such as manual
flanging and dynamic or tnggered delay sweeps.
There 1s also a high-cut modulation input for each of the delay modules. These allow dynamic variation of the amount of high
frequency rolloff.
#47 Delay 1 0 to 650, 11000, or 32000 miiliseconds
#48 Delay 2 0 to 650, 11000, or 32000 milliseconds
Use this to control the amount of delay in the delay modules. This parameter works m conjunction with the Delay BPM setting
to determine the final delay. When strict beat per minute control of delays is desired, this should be set to zero.
#49 Delay 1 BPM 0/24 to 96/24 beats
#50 Delay 2 BPM 0/24 to 96/24 beats
The Delay BPM control determines how the master BPM tempo control affects the delay. When this is set to zero, the tempo
setting has no effect on the delay time. To control the delay in beats-per-minute, set the normal delay parameter to zero, and
set the Delay BPM to the number of beats of delay desired. The settings are in 1/24 subdivisions of a quarter note. To get a
quarter note delay, the delay BPM should be set to 24/24. To get an eighth note delay, set this parameter to 12/24. A setting
of 8/24 will give quarter note triplets.
#51 Delay 1 Fdback -100 to 100 per cent
#52 Delay 2 Fdback -100 to 100 per cent
This controls how much of the delays output 1s fed back to its input. Settings other than zero will result in recirculating,
repeating delays.
The Factory Programs 118
#53 Highcut 1 0 to 20000 Hz
#54 Higheut 2 0 to 20000 Hz
The highcut parameters control the amount of high frequency rolloff applied to the delay outputs. The setting is in Hertz, and
represents the frequency at which the audio is attenuated by 3 dB. A setting of 20000 will give a full bandwidth signal, with
no attenuation of high frequencies. Lower settings will take the edge off of the delay, giving a much warmer, anal og-style
sound.
#55 Loop! off or on Modutation
#56 Loop 2 off or on Modulation
To "loop" the delays, 1.e., to make them repeat indefinitely, set this parameter to "on". When set to "on" all input to the delay
lines will be blocked, repeating the most recent audio, but preventing any further input.
#57 Delay 1 Mod -500.0 to 500,0 milliseconds
#58 Delay 2 Mod -500.0 to 500.0 milliseconds
The Delay Mod controls determine how much the modulation input affects the final delay. For flanging effects, this should
usually be set to several milliseconds. For chorusing, set this to about 10 or 20 milliseconds. Negative settings will sweep the
delay in the opposite direction. This is useful if sweeping the two delays with the same signal, allowing for a richer sound.
#59 Cut Mod 1 0 to 20000 Hz
#60 Cut Mod 2 0 to 20000 Hz
This parameter controls how much the modulation affects the amount of high cut. This is useful for dynamic control of the
timbre of the delay lines.
Low Frequency Oscillator
The low frequency oscillator is the module to use when creating sweep and triggered sweep effects. The oscillator works in a
different way than the H3000 Function Generator, allowing much smoother modulation of delays, filters and gain. The
waveshape of the LFO can be selected from a variety of continuous or audio-triggered waveforms. In addition, the LFO has a
frequency modulation input that opens up new dynamic sweeping effects.
#61 LFO Frequency 0.00 to 300.0 Hertz Modulation
This parameter controls the frequency of the LFO. This works in conjunction with the LFO Beat per Minute control. When
tempo tracking of the LFO is desired, set this parameter to zero.
#62 LFO BPM 0/24 to 96/24 beats
Similar to the Delay BPM control, this parameter allows the master BPM tempo to control the frequency of the LFO. With
this, effects such as in-tempo autopanning can be obtained,
#63 LFO Waveform sine, square, sawtooth, triangle, exponential sawtooth, exponential triangle, triggered
sine, triggered saw, triggered triangle, triggered exponential saw, triggered
exponential triangle, toggle linear, toggle exponential
The LFO Waveform parameter determines the shape of the output of the LFO. The first 8 waveforms in the list are
continuous, that is, they always do what they do. The next 5 waveforms are audio-triggered. When the level of whatever is
patched to the input of the oscillator goes above the threshold, the oscillator sweeps through one cycle. The last 2 waveforms,
the toggle waves are also audio-triggered. They will alternately sweep up and down with every other audio tri gger. This is
useful for such things as autopanning, where alternate hits of a drum would cause the input to pan from left to right, then right
to left.
The Factory Programs 119
#64 LLFO Threshold 0 to -40 dB
The LFO threshold controls the level at which the oscillator is triggered. This parameter only has effect when the oscillator is
set to an audio-trigger waveform.
#65 LFO Mod 0 to 300.0 Hertz
For contmuous LFO waveforms, the oscillator input will modulate the frequency of the LFO. This parameter controls how
much the frequency will change for a full level input to the LFO.
Envelope Detector
The envelope detector 1s used to modulate vanous parameters based on the envelope of the signal. The envelope of a signal is
simply its level at any given instant; hence, the envelope detector allows us to build effects that vary with the signal level. The
input to the envelope detector can be patched anywhere, allowing this dynamic modulation to be based on the signal level of
any point in our effects patch.
The envelope detector has two outputs, the envelope output and the ducker output. The envelope output is what you would
expect, a signal that varies in proportion to the input of the envelope detector. The ducker output is a signal that is useful in
building effects that reduce their level in the presence of another signal; i.e., they duck out of the way, allowing you to hear the
other signal. Hence, the ducker output is normally at a high level. When the input to the envelope detector exceeds a
threshold. the output gets progressively smaller.
#66 Env Attack Time 0.0 to 1000.0 milliseconds
The Attack Time controls how fast the envelope and ducker outputs respond to increases in signal level.
#67 Env Decay Time 0.0 to 1000.0 milliseconds
The Decay Time controls how fast the envelope and ducker outputs respond to decreases in signal level. Often it is desirable to
have a fast attack time and a slow decay time, (especially in something like a compressor).
#68 Threshold О to -40 dB
The Threshold determines the level at which the ducker begins reducing its level. This is very similar to the threshold control
on a compressor.
#69 Ratio 1.0:1 to 100.0:1
The Ratio parameter controls how much the output of the ducker will decrease in relation to the input signal level. If the
ducker output 1s patched to the modulation input of one of the AmpMod modules, this parameter will function similar to the
ratio control on a compressor.
Amplitude Modulator Parameters
The amplitude modulator modules allow the gain of a signal to be smoothly varied. These modules are the basis for
autopanning, compression, ducking, and many other dynamic effects.
#70 AM 1 Amount -200 to 200 per cent
#71 AM 2 Amount -200 to 200 per cent
The Amp Mod Amount determines how much the modulation input effects the gain of the audio signal. À setting of 100 per
cent will give no attenuation for a maximum modulation input and full attenuation for a zero modulation input. When the
amount is set to 200 per cent, a maximum modulation input will add 6 dB of gain to the signal.
The Factory Programs 120
#72 AM 1 Offset -200 to 200 per cent
#73 AM 2 Offset -200 to 200 per cent
The Amp Mod Offset controls how much gain or attenuation the signal will have when modulation input 1s zero.
Mixer Parameters
The four simple two-input mixers are essential in building useful patches. They are used for controlling level, mixing, building
feedback loops and much more.
A mixer is used to combine two signals with control over the amount and phase of each signal. A mixer can be used to simply
control the level of a signal by patching the B input of a mixer to zero.
#74 Mix 1 A Amount -160 to 100 per cent Modulation
#75 Mix 1 B Amount -100 to 100 per cent Modulation
#76 Mix 2 A Amount -100 to 100 per cent Modulation
#77 Mix 2 B Amount -109 to 100 per cent Modulation
#78 Mix 3 A Amount -100 to 100 per cent Modulation
#79 Mix 3 B Amount -100 to 100 per cent Modulation
#80 Mix 4 A Amount -100 to 100 per cent Modulation
#81 Mix 4 B Amount -100 to 100 per cent Modulation
Each of the mixers has two inputs; an "A" input and a "B" input. This is like a mixing console that only has two channels,
channel A and B. The mix amount control is like the fader for that particular input. A setting of 0% means the fader is fully
off. A setting of 100% means the fader is fully on. A setting of 50% will cut that channel's level by one-half,
To mvert the phase on a mixer input, use negative settings instead of positive settings. A setting of -100% will give a full "on"
signal that has its phase inverted. A setting of -50% will cut the signal by half and also invert the phase.
Modulation Scalers
The modulation scalers are useful in controlling the gain of a particular modulation signal. They are particularly useful in
allowing MIDI or the softknobs to control a particular parameter. To do this, patch fullscale into one of the control scalers. To
modulate delay, patch the output of the control scaler into the delay mod input, then patch MIDI or a SoftKnob to control the
scaler.
Using this method, most parameters can be MIDI controlled.
#82 Mod Scale 1 -100 to 100.0 per cent Modulation
#83 Mod Scale 2 -100 to 100.0 per cent Modulation
The Mod Scale Amount determines the amount of attenuation given to the input modulation signal. A setting of 100 per cent
give no attenuation and a setting of zero turns off the input. Negative settings reverse the polarity of the input signal.
Level Parameters
The level parameters allow individual presets to alter the input and output levels of the H3000. The levels set here are added
to or subtracted from the "master" levels.
#84 Left In -48 to 48 dB
#85 Right In -48 to 48 dB
#86 Left Out -48 to 48 dB
#87 Right Out -48 to 48 dB
The Factory Programs 121
Patching Parameters
#88 Prg Load Speed slow or fast
The program load speed control 1s definitely considered an expert parameter. This parameter affects the speed at which
presets are loaded. When set to slow, the loading speed will be noticeably slower than when the load speed is set to fast. The
drawback to the fast load mode 1s that the contents of delay lines and other internal registers are not "cleared" before the new
patch begins working. This means that 1f loading a patch with long delay times and/or lots of feedback, the patch may load
with clicks or noise in the output audio.
Here's the basic rule of thumb. If you aren't sure about what to do, set this parameter to slow. If you think you know what
you're doing and have a patch that has a very small amount of delay and little feedback, try setting this parameter to fast. 1f
you find that the patch loads in a noisy manner, set the mode back to slow.
How to Patch
To create an effects “patch” press (patch). The display will look hike:
123 mod factoryitwo dly 1 in<mixer
This display shows that mixer 1 1s patched to dly 1 in. The input is always shown on the left and the output on the right, in the
form input<output. Here, dly 1 in is the input, and mixer | is the output. To select an input to patch, press (input). The knob
will scroll through a hist of all available inputs. To re-patch a particular input, scroll the input list until the signal is shown in
the display. Then, press (output). The knob will now scroll through the outputs that may be patched to the currently selected
input. As you turn the knob, you will instantly hear the effect of the signal being repatched. |
An important note of warning! Please, keep your monitor volume low when creating new patches. It is fairly easy to
create feedback loops capable of producing ear and speaker damaging signals. Be careful out there.
One thing to make note of when creating a patch 1s the difference between audio inputs and modulation inputs. Generally, the
modulation inputs are used to change some parameter of the effect, such as a filter frequency or delay time. In most cases,
patching a slowly changing signal, such as an LFO to a modulation input will result in the most aurally satisfying result. It is
possible and might sometimes be tempting to patch an audio signal directly into a modulation input. The main problem with
this 1s that modulation signals are processed at a slower sample rate than audio signals. Because of this, patching an audio
signal into a modulation input may result in audible aliasing. (Aliasing is a non-harmonic modulation distortion that results
when a digital signal 1s sampled too slowly.) To minimize the potential for aliasing, it is suggested that an audio signal be
passed through a lowpass filter before patching into a modulation input.
The inputs and outputs are shown below:
Inputs
#0 left out The left output of the H3000,
#1 right out The right output of the H3000.
#2 mixta in The "A" input of mixer 1.
#3 mix1b in The "B" input of mixer 1.
#4 mix2a in The "A" input of mixer 2,
#5 mix2b in The "B" input of mixer 2.
#6 mix3a in The "A" input of mixer 3.
#7 mix3b in The "B" input of mixer 3.
#8 mixda in The "A" input of mixer 4.
#9 mix4b in The "B" input of mixer 4,
The Factory Programs 122
#10 aml in
#11 ami mod
#12 am? in
#13 am2 mod
#14 diy I in
#15 dly1 mod
#16 diyl ctmd
#17 dly 2 in
#18 diy2 mod
#19 dly2ctmd
#20 dtunelin
#21 dtunl mod
#22 dtune2in
#23 dtun?2 mod
#24 env in
#25 Ifo in
#26 mdscll in
#27 mascl2 in
Outputs:
#0 zero
#1 left input
#2 right input
#3 mixer 1
#4 mixer 2
#5 mixer 3
#6 mixer 4
#7 amp mod |
48 amp mod 2
#9 delay 1
#10 delay 2
#11 detune 1
#12 detune 2
#13 ducker
#14 envelope
#15 Ho
#16 mod knob
#17 noise gen.
#18 fullscale
#19 -fuliscale
#20 modscale 1
#21 modscale 2
The Factory Programs
Amplitude modulator 1 audio input.
Amplitude modulator 1 modulation input.
Amplitude modulator 2 audio input.
Amplitude modulator 2 modulation input.
Delay 1 audio input,
Delay 1 modulation input,
Delay 1 highcut modulation input,
Delay 2 audio input.
Delay 2 modulation input.
Delay 2 highcut modulation input.
Detuner 1 audio input.
Detuner 1 modulation input.
Detuner 2 audio input.
Detuner 2 modulation input.
Envelope follower input,
Low frequency oscillator modulation/trigger input.
Modulation scaler 1 input.
Modulation scaler 2 input.
A zero, or "off" signal.
The left audio input of the H3000.
The right audio input of the H3000.
Audio output of mixer 1.
Audio output of mixer 2.
Audio output of mixer 3.
Audio output of mixer 4.
Amplitude modulator 1 output,
Amplitude modulator 2 output.
Delay line 1 audio output,
Delay line 2 audio output,
Detuner 1 audio output.
Detuner 2 audio output.
Ducker modulation output.
Envelope modulation output,
Low frequency oscillator modulation output.
Mod knob modulation output.
Noise generator output,
Fuliscale, a maximum positive signal.
Minus fullscale, a maximum negative signal,
Modulation scaler 1 modulation output.
Modulation scaler 2 modulation output
123
User Program Worksheets
This section contains worksheets for programming the H3000 algorithms. These are included to make it easier for you to
create and document your own custom sound effects. We recommend that you use these to keep a permanent record of your
valuable presets. The faithful use of these sheets will insure that your creative inspirations will never be lost and will provide
a way of recreating your sounds in the case of any bizarre mishaps with your H3000.
We encourage you to make photocopies of the worksheets in the following pages.
Worksheets 124
Programming Worksheets
For Programming Worksheets, visit this link on Eventide’s Web Site:
http://www .eventide.com/oldies/progform/index.html
Quick Reference: H3000
The next few pages contain a "quick reference" guide to all the presets available in our H3000 line, Basic effect algorithms
are found between numbers 100 and 123. Factory programs are found between numbers 150 and 999. Gaps in the numbered
sequence are intentional, as these spots are reserved for future upgrades.
The column on the far right indicates which H3000 model the program is available in. You may upgrade any H3000 to
include the programs listed here (except for H3500-specific presets). See the Eventide document titled "Harmonizer brand
selection guide" for more details.
For additional information and specifications, ask your Eventide dealer for our color brochures or contact us directly at (201)
641-1200.
All presets described in this booklet are based on the following algorithms:
DIATONIC SHIFT
DUAL SHIFT
LAYERED SHIFT
STEREO SHIFT
REVERSE SHIFT
SWEPT COMBS
REVERB FACTORY
ULTRA-TAP
DUAL DIGIPLEX®
LONG DIGIPLEX
VOCODER
DENSE REVERB
MULTI-SHIFT
BAND DELAY
STRING MODELLER
PHASER
STUTTER
PATCH FACTORY
MOD FACTORY
H3000 Presets
Two channels of pitch shift create diatonic harmonies in any user-specified key
Two independant pitch shifters in a dual mono in and out configuration
Mono in, stereo out pitch shifter
Phase-compensated stereo pitch shifting, stereo in and out
Backwards pitch shifting over a three-octave range
Six sweepable delay lines with stereo panning
Extremely versatile reverb with EQ and flexible gating
Twelve delays with stereo panming, level control and diffusion
Smooth, stereo delay
Mono delay with twice the maximum length of Dual Digiplex
Superbly articulate, linear, predictive vocoder
Smooth, natural reverb that recalls the SP2016
Six-octave, multi-positional pitch shifter
Eight-resonant bandpass filters with multi-tap delay
Six-voice polyphonic synth and resonant-ambience generator
The return of the classic Eventide Instant Phaser
Random pitch-shified stutters for voice or instrument
Create your own algorithms with this powerful effects tool
Dynamic algorithm construction kit
155
150
151
152
153
154
155
156
137
158
159
160
161
163
164
165
166
167
168
NAME
12BYRD-STRING
12 STRING & 5th
3+ ОЕ МЕ
60sSITAR FLANGE
8 SEC REVERB
ANALOG DELAYS ?2
BACK TAPPING
BassChor DDL
BIG 5TH HARMONY
THE BIG CHEEZ 2
BLACK JACK
CHORUS SLAP
COOL PRES
CRYSTAL ECHO 2
DELAY & HARM
DETUNE + DELAY
DIFFUSED SLAP
DOLPHIN TALK
DREAM FANTASY3
H3000 Presets
ALGORITHM
MULTI-SHIFT
MULTI-SHIFT
DUAL DIGIPLEX
SWEPT REVERB
SWEPT REVERB
PATCH FACTORY
ULTRA-TAP
MULTI-SHIFT
MULTI-SHIFT
MULTI-SHIFT
LAYERED SHIFT
SWEPT COMBS
MOD FACTORY
REVERSE SHIFT
MULTI-SHIFT
MULTI-SHIFT
ULTRA-TAP
REVERSE SHIFT
LAYERED SHIFT
DESCRIPTION
Nice, 12-stringy program. Uses lower octave
doubling. Watch clipping.
Similar to 12BYRD STRING with added 5th
above.
Doubling delays.
Psychedelic, twangy flange and reverb.
Long, SWEPT REVERB. Indoor
stadium-like.
Warm, filtered delays. Newer version of
program 535 in SE. Delay 1 1s longer and
swept.
Reversed-sounding delays with feedback.
Nice doubling for the bass. Stereo image.
A 4th above and a Sth below.
An octave Harmonizer® thing with 'roomy,
ambient delays added.
Manually triggered sweep. Up then down.
Nice, swept thickener, sounds lush on
everything.
Complex but warm delays. Dynamically
affected by input.
An H3000 onginal, slightly modified. A
shimmering, hypnotic ambience. Derivative
of H3000-SE preset 642.
A fifth is added and then sent through a
delay.
Gentle detuning with a long delay.
Diffused delay with mix control,
How many times have you wanted that
mating call sound of these aquatic mammals?
Well, here 1t 1s.
Whole-tone extravaganza. ‘Beam up’ with a
swelled hanmonic on your guitar.
156
UNIT
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/S X, D/S E,
D/SX, D/SE,
D/SX, D/SE,
/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
35
35
35
35
35
35
35
35
35
35
35
35
35
35
35
169
170
171
172
173
174
175
176
177
178
179
180
181
184
185
МАМЕ
DUAL GTR DELAYS
FATASSCAN-B
FLESH 4 FANTASY
FLOAT!
FLOAT FLANGE
FRIZZLE FRY
GMAJ MOD WHEEL
GTR OFF STAGE L
GTR OFF STAGE R
GUITAR ROOM
HEAVEN I KNOW 9
HEAVENLY PAD DM
HUNTER DELAY
JERRY RACE CAR
JIMI JAMES
LUSH LIFE
MAJ3RD-MIN3RD+
H3000 Presets
ALGORITHM
DUAL DIGIPLEX
LAYERED SHIFT
SWEPT COMBS
ULTRA-TAP
SWEPT REVERB
ULTRA-TAP
DIATONIC SHIFT
MOD FACTORY
MOD FACTORY
REVERB
FACTORY
REVERSE SHIFT
REVERSE SHIFT
REVERB
FACTORY
MULTI-SHIFT
REVERSE SHIFT
SWEPT COMBS
MULTI-SHIFT
DESCRIPTION
Two long delays, for really beeg guitar
sound.
Another thickenizer, Has soft knobs for easy
control.
Flangy, sweepy, doubly thing.
Long, thick, swingin' delays.
Strong, satisfying flange using negative
feedback.
Strong initial echoes, followed by diffuse,
fed back echoes.
Turning the Mod Wheel on will tum mix up
to 40% and bring in a third and fifth above
your note. For live shows, those of you with
MIDI pedals can control harmonies.
If you use a stereo stage setup, send Left
output to left cabinet and Right to right. À
person standing in the middie will hear the
guitar off to the left of the stage, when the
balance 1s set properly. Experiment with
settings and position of cabinets.
Complement of GTR OFF STAGE L.
Nice and tight kind of room. Nice guitar
space.
Squirrely, backwards shift effect.
Just like 1t says. High, reversed echoes.
Unusual, quickly repeating delays, becoming
diffused as they decay,
A small, roomy-type ambience with
detuning.
Basic reverse delays - like playing
backwards in one-second snippets .
Six wildly swept, tight delays with feedback.
What a hfe.
Lots of fun to solo with. A major chord is
formed. One key fits all.
157
UNIT
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
186
187
188
189
190
194
195
196
197
198
199
201
204
NAME
MIGHTY DUCK
MOD WHEEL CLIMB
MOD WHEEL DIVE
MULTI SLAP
SHOULDER PHONE
RAYGUN
ResoVibroEee
ROOM OF DOOM
RHYTHM & REVERB
SEAS OF CHEESE
SLUDGWIK
SON OF KAMIKAZE
STEREO W FLANGER
SWEPT FLANGE 2
ALIENS
AMBIENCE
A MINOR CHORDS
ANTI-AMBIENCE
AVANT-GARDE
H3000 Presets
ALGORITHM
MOD FACTORY
LAYERED SHIFT
LAYERED SHIFT
SWEPT COMBS
MOD FACTORY
LAYERED SHIFT
SWEPT COMBS
REVERB
FACTORY
MULTI-SHIFT
LONG DIGIPLEX
SWEPT COMBS
MOD FACTOR Y
SWEPT COMBS
SWEPT REVERB
REVERSE SHIFT
ULTRA-TAP
DIATONIC SHIFT
REVERSE SHIFT
REVERSE SHIFT
DESCRIPTION
A delay that swells up when signal 1s
removed. It 'ducks ' out of the way of a solo.
Will pitch shift up an octave with a Mod
Wheel (through MIDI).
Compliment of Mod Wheel Climb. This one
will dive an octave with a Mod Wheel
controlier through MIDI.
Six swept delays that sound a little like a
gated room.
Put the phone to your shoulder, this is what it
sounds like.
Sounds like a PHASER. Set on STUN.
Sharp, resonant reverb around low E.
Warm, medium reverb. Groovy name.
Nice ambience, built of short delays.
Long, long delay .
Another nice, Evennde, fat chorus,
Delays that dive after a phrase stops and
input drops below threshold. Scary.
Vanation on the flange theme.
Flange theme with a variation.
Transforms voice into a rough, alien-like
sound.
Use this to add ambience without muddying
the mix.
Play or sing a solo line in A minor. The
H3000 will generate two perfect 'in-key'
harmonies.
This 1s a reverb-like sound created from
REVERSE SHIFT. Sounds great on guitar.
Mr. Cooder's favonte.
A REVERSE SHIFT effect that generates
descending, chromatic lines.
158
UNIT
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 353
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
205
206
207
208
209
210
2
PI
td
—
a
215
216
217
218
NAME
BASS SHIFT
BIG SNARE
BIG SWEEP
BIZARRMONIZER
BRIGHT ROOM
CANNONS
CANYON
CIRCLES
DARK ROOM
DEATH FLANGE
DISCRETE-VERB
DRUM PROCESSOR
DUAL H910s
DUEL EFFECT
H3000 Presets
ALGORITHM
LAYERED SHIFT
REVERB
FACTORY
SWEPT REVERB
LAYERED SHIFT
REVERB
FACTORY
REVERSE SHIFT
REVERB
FACTORY
ULTRA-TAP
REVERB
FACTORY
SWEPT REVERB
SWEPT COMBS
SWEPT REVERB
DUAL SHIFT
DUAL SHIFT
DESCRIPTION
A doubling effect intended for bass guitar.
One channel 1s shifted up an octave. The
other 1s slightly detuned.
Thickens up weak, drum sounds. Try
increasing gate time to get a more 'gated'
effect.
To really hear the sweep, turn up the master
feedback, make some noise, and then change
the master delay.
Generates a bizarre, upward sweeping pitch
shift.
A short, bright reverb.
A unique, sweeping sound that's great on
drums. Try playing a tom solo through this.
Our biggest reverb sound, like an echoing
canyon,
A stereo-delay effect that seems to circle
around your head. The effect 1s most
noticeable on short sounds, like handclaps.
A very mellow, room sound.
A deep, intense flange that's great for
thickening up a synthesized bass line.
A sparse, reverb effect.
This very different effect tends to make
things that aren't drums sound like drums.
Try adjusting the first four parameters for a
variety of effects.
This program is designed to function like two
Eventide H910 Harmonizer effects
processors. The glitching you hear is
intentional. This is a true dual program,
where both left and right channels are
processed separately.
The left input is processed with a detuned
slap delay, while the right channel is
processed with a downward pitch sweep.
159
UNIT
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
223
224
225
226
227
232
233
NAME
EXPLODING 'VERB
FAT SLAP
FLANGE & REVERB
FLANGER
GATED REVERB
GENERIC HALL
GLITCH SHIFT
H949
HUMP-VERB
JUST 3RD & 5TH
JUST 4TH & 6TH
LOCKER ROOM
MICROPITCHSHIFT
MICROPITCH-SLAP
MIDI 3 ON 2
H3000 Presets
ALGORITHM
REVERB
FACTORY
ULTRA-TAP
SWEPT COMBS
SWEPT COMBS
REVERB
FACTORY
ULTRA-TAP
DUAL SHIFT
LAYERED SHIFT
ULTRA-TAP
DIATONIC SHIFT
DIATONIC SHIFT
REVERB
FACTORY
LAYERED SHIFT
LAYERED SHIFT
DUAL DIGIPLEX
DESCRIPTION
This sounds like a reverb, until the input
level goes above the gate threshold. Once
triggered, the reverb sound grows
explosively,
A slap delay with an ambient sound.
This ts a reverb with a subtle, flanging
effect.
This 1s a basic stereo flanger. For the best
effect, mix the H3000 output with the dry
signal.
That very familiar drum effect. To change
the length of the ‘gate’ sound, set the gate
length parameter.
À ‘cheap, reverb effect.
A ‘cheap’ pitch shifter, If glitches are what
you want, here they are.
This gives you what the H949 gave you.
One output 1s a straight delay, while the
other 1s pitch shifted. Both outputs are fed
back to the input.
À very unique reverb with a sound not unlike
the name.
A ‘diatonic’ pitch shifter that will generate
Just intoned 3rds and 3ths above the input.
Make sure to set the key properly.
This generates just intoned 4ths and 6ths
above the input.
A small, resonant reverb.
Thus 1s the perfect effect to fatten up or
widen a sound without adding any color.
The left channel 1s micro-shifted and the
right is a slap delay with micro-shift. Great
for guitar.
Thus preset will sync up its delay times to a
MIDI drum machine or sequencer. The
delays are in the familiar 3 on 2 pattern.
160
UNIT
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
235
236
237
240
244
245
246
NAME
MIDI PEDALSWEEP
MIDIPLEX
MODWHEEL REVERB
MULTI-FLANGE
MUSIC SHIFT
PITCH QUANTIZE
RANDOM GATE
REVERSE GATE
RICH CHORUS
RICH PLATE
ROCK N' ROLL
SCARY MOVIE
SHIMMERISH
H3000 Presets
ALGORITHM
SWEPT REVERB
LONG DIGIPLEX
SWEPT REVERB
SWEPT COMBS
STEREO SHIFT
DIATONIC SHIFT
ULTRA-TAP
ULTRA-TAP
SWEPT COMBS
SWEPT REVERB
LAYERED SHIFT
REVERSE SHIFT
SWEPT REVERB
DESCRIPTION
The MIDI foot pedal controller will
manually sweep the delays in this program to
generate a flange-like sound. The
Modulation Wheel controls modulation of
the delays.
Connect a MIDI drum machine or sequencer
to this program and the delay will
automatically be in time.
When connected to a MIDI keyboard, the
Mod Wheel controls the decay time and the
Pitch Wheel controls the delay (room size).
Use this to easily generate dramatic reverb
sweeps.
With six delays being swept at once, this
program creates a very thick, flange sound.
Thus stereo, pitch shift program is optimized
for shifting input program material.
This program quantizes the input to the
nearest chromatic interval.
Great for drums. A 'gated reverb' sound
created with the ULTRA-TAP program.
Another standard, drum reverb.
This program uses six delay lines to create a
useful chorus effect. Try increasing 'm delay’
to get a subtler but more realistic effect.
A slight sweep in this reverb gives it a rich
sound and a smooth tail.
This one's a bit different. Capture an audio
loop by pressing the 'sustain' parameter. Play
a note on a MIDI keyboard to hear the loop.
Moving the Mod Wheel will alter the loop
points (a bit like rocking tape reels). Playing
different notes will change the pitch of the
loop.
This program uses REVERSE SHIFT to
create an evil-sounding voice. Use with
guitar to create that tape splice, psychedelic
sound.
A recirculating delay effect that fades into a
smooth reverb.
161
UNIT
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
247
248
250
251
ha
Lh
ba
Md
Fu
ud
254
255
236
257
239
260
261
262
263
264
NAME
SLAPMICROPITCH
SMALL ROOM
SPACE FLANGE
SWEEP RIGHT
THICK LOOP
THIRD & FIFTH
THIRD & OCTAVE
TONAL ROOM
TWELVE STRING
VOICE SHIFT
WARM HALL
SymphonicChorus
SYNTHISH ON YOU
THRAX-VERB
TWIRLING ROOM
UnderwaterDelay
UNREAL 12 STRNG
H3000 Presets
ALGORITHM
DUAL SHIFT
REVERB
FACTORY
SWEPT REVERB
ULTRA-TAP
SWEPT REVERB
DIATONIC SHIFT
DIATONIC SHIFT
SWEPT REVERB
LAYERED SHIFT
STEREO SHIFT
REVERB
FACTORY
SWEPT COMBS
DUAL SHIFT
REVERB
FACTORY
SWEPT REVERB
PATCH FACTORY
PATCH FACTORY
DESCRIPTION
The left channel 1s processed with a slap
delay. The right channel is processed with a
micro-shift.
A small-room reverb.
This program 1s a cross between a digital
delay, a reverb and a flanger.
This ULTRA-TAP program sweeps the taps
across the stereo field.
A repeating delay that fades into a reverb
sound.
Generates an 'in-key' third and fifth above
the input.
This generates a diatonic third above and an
octave below the input.
With pitched inputs, this reverb will actually
generate many other tones. On drums, this 1s
one of the biggest sounds you can get.
Using a micro-pitch shift and an octave shift
this generates a great twelve-string sound.
Wonderful for guitar.
This STEREO SHIFT program is optimized
for pitch shifting program material whose
main content 1s spoken voice.
Our basic, reverb sound,
Rich, muiti-voice chorus.
Sci-fi, ring-modulating thickener with added
pitches above and below.
Nice, full, medium reverb.
Twirling-room reverb.
Gurgling and bubbling, these delays are
something new.
Adds processed, 12-stringy thickness to
guitars.
162
UNIT
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
265
266
267
268
269
270
271
272
273
274
279
280
281
282
NAME
USEFUL VERB
MODULATOR-VERB
OCTAVE ECHOES
PanPitchDly Verb
PanOctavDlyVerb
SkilScale
3 OCTAVES UP
LO & BEHOLD
ABOUT YOU VIBD
CHORWASHdual
MY BLOODY VAL
DRY CHORUS
MILD CHORSDELAY
FLUTTEROUS ROOM
WATERY CHORUS
DRUNK ROOM
HARMONY ROOM 2
MARKS MED DARK
H3000 Presets
ALGORITHM
REVERB
FACTORY
MULTI-SHIFT
MULTI-SHIFT
MULTI-SHIFT
MULTI-SHIFT
DIATONIC SHIFT
MULTI-SHIFT
REVERSE SHIFT
MOD FACTORY
MOD FACTORY
REVERSE SHIFT
MULTI-SHIFT
MULTI-SHIFT
STEREO SHIFT
LAYERED SHIFT
REVERSE SHIFT
LAYERED SHIFT
REVERB
FACTORY
DESCRIPTION
Bright and generic, medium-large verb.
Quite roomy.
Unique ring-modulaty, yet reverb-like effect.
Nice, subtle doubling with octave thrown
into a delay.
Shifted ambience, with a fourth above and a
fifth below.
Gently sweeping ambience with octave
harmonic.
An example of a user-scale mapping one
input note to a wild set of nonlinear, output
notes.
Two Harmonizer effects processors, both set
to 3 octaves up. Great on top four guitar
strings,
Octaves up and down, reversed, then
re-reversed.
Smooth vibrato with panning.
Long delays with thickener that cut their
feedback with next input signal, cleaning up
the wash of delays.
Evil, reversed and down shifted delays.
Perfect for that scary, solo sound.
Subtle, chorus sound, tweaked for guitar.
Self descriptive.
Warbly, bathroom-like ambience. Thickens
with micro-shifting quite a bit.
Name says it all.
Unusual smail-room ambience, built from
reversed and slightly shifted delays.
Cool, fifthy ambience.
This 1s a medium-small, dark room.
163
UNIT
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
D/SX, D/SE,
35
35
35
35
35
35
35
35
35
35
35
35
35
35
35
35
35
35
286
287
301
302
303
NAME
LG GUITAR ROOM
LONG LEAD PING
PANDELAY250/125
GIANT 3D DELAYS
3D DELAY LEFT
GHOST 3D DELAY,
INSIDE OUT 3D
3D DUCKY DELAYS
3D DUAL DUCK DLY
3D HAAS PAN
FAR LEFT
FAR RIGHT
PRISTINE CLEANS
SHIFT FAR LEFT
SHIFT FAR RIGHT
AIRPORT PAGE
ALVIN
AUTO-MAX
AUTOPANNER
H3000 Presets
ALGORITHM
REVERB
FACTORY
MOD FACTORY
LAYERED SHIFT
ULTRA-TAP
MOD FACTORY
ULTRA-TAP
ULTRA-TAP
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
STRING MODELER
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
LAYERED SHIFT
STUTTER
SWEPT COMBS
DESCRIPTION
A large room, suitable for guitar,
Ducking, ping-pong delay that goes from
side to side.
Tight left and night delays with mix control
for easy, live performance adjustment.
Wide complex delays. Use delay to shorten.
Delay with off-the-speaker left image.
Spinning delays, randomly moving in space.
Delays moving ever outward from center,
Cave-hike delays way off the left speaker.
Another Eventide first - 3D Ducking taps.
A manual-close delay manipulation w/ pan.
Dry processing to pan input off left speaker.
Ditto.
Unusual chorus effect with wide 3D image.
3D micro-shifter on far left.
3D micro-shifter on far right.
This program simulates a large paging
system: (size) sets room size, (echo lvl) sets
the amount of echo mixed into effect, (pitch)
controls overall pitch effect, (mix) wet/dry
effect mix.
An easy way to get that familiar chipmunk
sound: (munkness) controls chipmunk pitch.
Automatically generates st-st-stutters and
sweeps. {rate} controls how often stutters or
sweeps occur.
Produces automatic stereo: (left<->nght) is
panning, (delay) controls delay of panned
signal, (feedback) increase for repeated
panning echoes, (pan rate) sets speed of
panning.
164
UNIT
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, 113500
B+, BLT
B+, BL T
B+, BLT
В+, ВАТ
304
305
306
307
308
309
310
3H
313
314
NAME
AVANT-GARDE
BACKWARDS
BRIGHT ROOM
CANNONS
CANYON
CAVE ECHO
CB
CHORUS
CIRCLES
CUZZIN IT
CYLONS
H3000 Presets
ALGORITHM
REVERSE SHIFT
REVERSE SHIFT
REVERB
FACTORY
REVERSE SHIFT
REVERB
FACTORY
DUAL DIGIPLEX
PATCH FACTORY
SWEPT COMBS
ULTRA-TAP
REVERSE SHIFT
SWEPT COMBS
DESCRIPTION
Produces a unique, reverse pitch shifted
effect: (pitch) controls amount of pitch shift,
(length) controls reverse splice length, (mix)
wet/dry effect mix.
Turns the input around in one-second chunks:
(length) controis length of reversed
segments, (feedback) feeds back reversed
output, (pitch) sets pitch of reversed signal.
(mix) wet/dry effect mix.
À short, bright reverb: (size) controls room
size, (distance) controls reverb predelay,
(mix) wet/dry effect mix.
Great on drums.
Our biggest reverb sound, like an echoing
canyon: (size) controls decay time of reverb;
(predelay) sets predelay, in milliseconds;
(mix) wet/dry effect mix.
A cave-like, long echo: (size) controls length
of echo, (liveness) controls feedback on
echo, (mix) wet/dry effect mix.
Simulates CB radio sound, with two different
voices and mike keying noise: (mike)
triggers mike noise and changes pitch of
speaker.
This program produces a swishy, chorus
effect: (depth) sets depth of delay sweep,
(rate) sets rate of delay sweep, (feedback)
increase to get a more resonant sound, {mix )
wet/dry effect mix.
Try clapping into it. Many delays are panned
to get a circular sweep.
Talk into this one. It might not be intelligible
but it will be funny: (depth) increase to make
voice lower in pitch, (speed) makes output
‘splice’ faster.
Creates a monotone, resonant voice sound:
(resonate) makes resonance more intense,
(tone) changes the pitch of the resonance.
165
UNIT
B+, B/LT
B+, B/LT
B+, B/LT
В+, ВАТ
В+, ВАТ
B+ B/LT
B+, B/LT
B+ B/LT
В+, ВАТ
B+, B/LT
B+ B/LT
315
316
317
3i8
319
320
321
Ad
bd
2
323
324
325
NAME
DRAGWAY AD
FADE TO DREAM
FLANGER
FLYING SAUCERS
GREGORIAN CHANT
GREMLINS
HELLVERB
JAVA THE HUN
LOCKER ROOM
LOWPASS FILTERS
MAGIC
H3000 Presets
ALGORITHM
PATCH FACTORY
LAYERED SHIFT
SWEPT COMBS
PATCH FACTOR Y
PATCH FACTOR Y
LAYERED SHIFT
PATCH FACTORY
LAYERED SHIFT
REVERB
FACTORY
PATCH FACTORY
LAYERED SHIFT
DESCRIPTION
Use this to create those cliché'd racecourse
ads: (pitch) controls pitch of voice, (delay)
controls amount of delay in echo, (echo)
controls amount of echo in output mix,
(feedback) controls amount of feedback.
This effect produces a fade to a dream-like
sound: (fade) triggers the fade, pressing
again will fade back to dry; (faderate )
increase to make the fade faster; (mix)
wet/dry effect mix.
Increase delay to produce flanging effect:
{depth) depth of delay sweep, (rate) rate of
delay sweep, (feedback) increase for
resonant effect, (mix) wet/dry effect mix.
Adds downward, sweeping pitch to input
signal: (length) controls decay time of effect,
(mix) wet/dry effect mix.
This program filters and pitch shifts input
voices to produce a chorus of droning monks,
This program randomly varies pitches and
delays to produce interesting, unintelligible
voices: (speed) controls how fast delay and
pitch are changed, (amount) decrease to get
less delay and pitch change.
An eerie, reverb-like sound. Play with the
controls!: (tone) makes reverb darker or
brighter, (delay) sets amount of delay in
feedback loop, (feedback) controls reverb
decay, (pitch) controls pitch sweep.
This sounds like the msidious voice of a
famous movie character: (deepness) will
lower the pitch of the voice.
This reverb program sounds like a concrete
room: (size) controls the reverb decay time,
(predelay) use this to add distance to the
reverb, (mix) wet/dry effect mix.
Two lowpass filters connected in senes
process the audio. Use cutoff 1 and 2 to
control the rolloff frequencies. Use Q factor
1 and 2 to control the resonance of the filters,
Whistle into the mic.
166
UNIT
B+ BLT
B+
B+
B+
B+
B+,
B+,
В+,
В+
В+
B+
, BLT
, BLT
, BLT
, B/LT
BLT
B/LT
B/LT
, B/LT
, BLT
, B/LT
326
327
328
329
330
331
332
334
335
NAME
MANY PITCHES
MARTIANS
MEGAPHONE
MORE ALIENS
NEW HOUSE
OKSY ELEVEN
PLANET ZORGON
PSYCHO-PANNER
RANDOM SHIFT
SHAKY
H3000 Presets
ALGORITHM
SWEPT COMBS
LAYERED SHIFT
PATCH FACTORY
REVERSE SHIFT
SWEPT COMBS
TIMESQUEEZE
REVERSE SHIFT
SWEPT COMBS
LAYERED SHIFT
LAYERED SHIFT
DESCRIPTION
Use this effect to produce a cacophony of
different pitched voices: (freq) lowering this
slows the pitch modulation, (amount) this
will increase the pitch variation, (mix)
wet/dry effect mix.
The planet is surrounded! Surrender,
earthlings!: (pitch) makes the voice higher in
pitch.
This produces the effect of speaking through
a megaphone: (echo) increasing this mixes in
an echo, (distance) controls the delay time of
the echo, (macho) turning this up lowers the
voice pitch, (mix) wet/dry effect mix.
Thus produces a rough, monotone, alien
voice: (pitch) sets the pitch of the voice,
(splice) controls the 'splice' rate, (mix)
wet/dry effect mix.
Use this to get that metallic sound of an
empty, reflective room: (size) use this to
make the room bigger or smaller; (liveness)
to make the room deader, lower this.
Get that deep, smooth, announcer voice with
this: (deepness) adjusts the voice pitch,
Use this to get an unintelligibly deep, space
voice: (pitch) controls the voice pitch,
(speed) controls 'splice' rate.
This program swirls the input in pitch, pan
and delay: Wild! (range) controls the range
of delay and pitch sweep, (feedback) lower
this to reduce the decay time, (pan rate)
controis the panning and sweep speed, (mix)
wet/dry effect mix.
This program changes the pitch randomly,
great for spreading sounds in stereo: (depth)
controls the amount of random pitch shift,
(rate) controls speed of pitch modulation,
(mix) wet/dry effect mix.
If you were standing on a paint shaker, your
voice might sound like this: (amount) use this
to increase the pitch modulation, (rate)
controls the rate of pitch modulation. On
Golden Pond, to boot!
167
UNIT
В+, ВАТ
В+, ВАТ
В+, ВАТ
B+, B/LT
В+, ВАТ
В+, ВАТ
B+, B/LT
B+ B/LT
В+, ВАТ
B+, B/LT
336
337
338
339
340
341
343
344
345
NAME
SHIMMERISH
SIMPLE DELAY
SISSY
SMALL ROOM
SPACE FLANGE
STADIUM
STEAM BATH
ST PETERS CATH
STUTTER
STUTTER DOWN
H3000 Presets
ALGORITHM
SWEPT REVERB
LONG DIGIPLEX
LAYERED SHIFT
REVERB
FACTORY
SWEPT REVERB
PATCH FACTORY
PATCH FACTORY
REVERB
FACTORY
STUTTER
STUTTER
DESCRIPTION
This reverb starts out discrete and ends with
a smooth tail: (length) controls the delay
lengths, (decay) controls reverb decay time,
(warble) use this to add a sweep to the
reverb, (mix) wet/dry effect mix.
Here ts a basic delay, with contro! over
delay, feedback, mix and a repeat control.
This program turns a he-man into a 90-pound
wimp: (% sissy) controls the voice pitch.
This 1s a small-room reverb: (size) controls
reverb decay time, (mix) wet/dry effect mix.
Use this to get a thick-loop delay with a
flange: (delay) controls loop delay time,
(depth) controls depth of delay sweep, (rate)
controls delay sweep rate, (feedback) use
this to control loop feedback.
This program simulates the low-fidelity PA
system of a sports arena: (pitch) changes the
pitch of the announcer's voice, (size)
increase or decrease arena size, (echo 1)
controls level of first echo, (echo 2) controls
level of second echo,
This recreates the sound of a steam bath,
including the steam: (size) adjusts the steam
bath size, (echo) controls the level of the
echo, (steam) controls the level of the steam
hiss, (mix) wet/dry effect mx.
This 1s a large, reverb sound, hke a
cathedral: (size) controls reverb decay time,
(pew) controls apparent distance from front
of room.
Use this for that popular STUTTER sound:
(stut) will trigger the STUTTER, (speed)
controls the speed of the STUTTER, (count)
controls how many stutters occur, (pitch)
controls the pitch of the voice.
This works just like the 'STUTTER'
program, but the pitch will sweep down with
the STUTTER effect.
168
UNIT
B+ B/LT
B+, B/LLT
B+, B/LT
B+, BLT
В+, ВАТ
B+ B/LT
B+, B/LT
B+ B/LT
B+ B/LT
B+, B/LT
346
347
348
349
350
351
353
354
NAME
STUTTER DUAL
STUTTER RANDOM
STUTTER UP
STUTTER UP/DOWN
SWEEP RIGHT
SWEET FLANGE
TELEPHONE
THREE OF ME
THREE ON TWO
H3000 Presets
ALGORITHM
STUTTER
STUTTER
STUTTER
STUTTER
ULTRA-TAP
LAYERED SHIFT
PATCH FACTORY
DUAL SHIFT
DUAL DIGIPLEX
DESCRIPTION
This program allows two different
STUTTER speeds to be set up and triggered:
(stutter!) tnggers a STUTTER using ‘speed
1% (speed 1) controls the speed of
STUTTER 1, ditto for STUTTER 2.
This program generates various random
stutters: (stut) triggers a random STUTTER;
(up) triggers a STUTTER with pitch sweep
up; (down) triggers a STUTTER with pitch
sweep down; (updown) STUTTER and
sweep up left, down right.
This program works like the 'STUTTER'
program, except the pitch will sweep up with
the STUTTER.
This also works like the 'STUTTER Dual’
program, but with one side sweeping up and
the other down.
Using multiple delays, this sweeps to the
right: (delay) controls length of sweep,
(feedback) use this to echo the sweep, (mix)
wet/dry effect.
Use this program for a smooth, subtle flange
sound: (amount) controls depth of delay
sweep, (freq) controls sweep rate, (feedback)
use this to add resonance, (mix) wet/dry
effect mix.
This imitates the sound quality of a
telephone: (distance) simulates long distance
by adding echoes, (noise) adds noise to voice
for realism, (pitch) changes pitch of voice.
This program randomizes the input delay to
simulate three voices: (detune) controls the
amount of pitch shift, (sweep) adjusts the
amount of delay modulation, (feedback)
controls the amount of feedback, (mix)
wet/dry effect mix.
The delays in this program are set such that
the familiar three against two rhythm is
produced: (feedback) controls the amount of
feedback, (mix) wet/dry effect mix.
169
UNIT
B+, BAT
B+, B/LT
B+, BLT
B+, BLT
B+ B/LT
B+ B/LT
B+, B/LT
В+, ВАТ
B+, B/LT
355
356
357
358
359
360
361
pra
cr
12
363
366
367
368
369
NAME
TIME WARP
TONAL ROOM
TRAFFIC REPORT
TV IN NEXT ROOM
UNDERWATER
WAH WAH
WARM HALL
WARPED 435
WARPED LP
12SEC GATORVRB
ACIDREIGN
ACCURATE ROOM
AMBIENT BOOTH
H3000 Presets
ALGORITHM
DUAL SHIFT
SWEPT REVERB
PATCH FACTORY
PATCH FACTOR Y
PATCH FACTORY
PATCH FACTORY
REVERB
FACTORY
STEREO SHIFT
STEREO SHIFT
REVERB
FACTORY
REVERSE SHIFT
DENSE ROOM
DENSE ROOM
DESCRIPTION
Speeds up and slows down whatever goes in.
Try counting to ten while listening to the
output: (speed) controls rate of time warp,
(amount) controls amount of delay variation,
(pitch) controls pitch of output, (feedback)
use this to generate warped echoes.
This program is a unique, pitched reverb.
This 1s great for percussive sounds.
This sounds like a person sitting in a traffic
helicopter. Also generates the CB voice
sound: (speed) controls the chopper rotor
speed, (neamess) controls the voice/chopper
noise.
Using filtering and delays, this program
simulates that TV or radio in the next room:
(tinniness) increase this to make the sound
tinnier, (muffle) increase this to make the
sound muffled, (delay 1) controls the length
of the first echo.
This 1s a pretty good simulation of dunking
your head under water and speaking: (depth)
controls the intensity of the effect, (speed)
increase this to get more.
This sounds like an automatic wah-wah
pedal: (amount) controls the depth of the
sweep, (speed) controls the wah-wah rate.
This 15 a nice, medium-length reverb
program: (size) controls the reverb decay
time, (predelay) simulates distance from the
source, (mix) wet/dry effect mix.
This can ruin even the best records:
(warpness) controls the amount of pitch
variation.
This 1s the same as Warped 45, but slower.
1/2-second delayed, 1/2-second gated verb.
Detuned reversed slices.
Nuff said.
Small, bathroom-sized booth reverb.
170
UNIT
B+ BLT
B+ B/LT
В+, ВАТ
B+, B/LT
B+, B/LT
B+, B/LT
B+ B/LT
B+, B/LT
В+, ВАТ
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
H NAME
370 ATLANTIS
371 BASS SPACE
372 BriteBrassPlate
373 DAVES SPIN
374 CABO BOING
375 CHORUS SLOW
376 CLOSENCOUNTERS
377 CLOSE MIKED
378 COMB SPACE |
379 COMPRESSED AIR
380 CRYSTALESQUE
381 DOUBLE SPACE
382 DENSE HALL 2
383 DELAY W/ ROOM
384 VERBY CHORUS
385 DRAGON BREATH
386 DrewzNooRoom
387 DRUM AMBIENCE
388 FLASHBACK
389 SORE THROAT
390 GATED FENCE
391 GATED ROOM 2
392 GENERIC HALL
H3000 Presets
ALGORITHM
REVERSE SHIFT
DENSE ROOM
REVERB
FACTORY
MOD FACTORY
SWEPT COMBS
SWEPT COMBS
STRING MODELER
REVERB
FACTORY
REVERB
FACTORY
DENSE ROOM
MULTI-SHIFT
DENSE ROOM
DENSE ROOM
DENSE ROOM
SWEPT REVERB
SWEPT REVERB
DENSE ROOM
DENSE ROOM
STUTTER
SWEPT COMBS
REVERB
FACTORY
REVERB
FACTORY
ULTRA-TAP
DESCRIPTION
Backwards, swelling delays.
Bathroom with lots of rugs and towels.
Twangy plate, good on dark brass.
An improved spinning-speaker-cabinet
simulator.
Gurgling-sounding chorus.
Subtle, chorus effect.
Mystic bell resonance. Try on anything.
Small, aled bathroom.
Resonant, small space.
Compressed, close-miked sound.
Micropitch thickener with some tight,
bathroomy delays.
Small, slap-room delay.
Large, dense hall,
Half-second delayed room.
Great reverb and chorus combo.
Tight, ambient delays. Try on guitar.
Small, cozy reverb.
Small, tight room.
Psychotic, sweeping delay.
Gargling-sounding ambience.
Nice, gated verb for drums.
Twangy, gated room.
High School Gym sound.
171
UNIT
D/SX, D/SE, 35
D/SE, H3500
/SE, H3500
D/SX, D/SE, 35
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SX, D/SE, 35
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
394
395
396
397
398
399
400
401
402
403
404
405
NAME
GREAT DRUMSPACE
SSEC HANG VERB
HUGE DENSE HALL
HUGE SYNTHSPACE
ACID REIGN
KALEIDOSCOPEYES
FAN WHIPPER
A 440
ALERT
BOINGY BUZZ
DOORBELL
JET
JETTISON
H3000 Presets
ALGORITHM
REVERB
FACTORY
REVERB
FACTORY
DENSE ROOM
DENSE ROOM
REVERSE SHIFT
SWEPT REVERB
MULTI-SHIFT
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
DESCRIPTION
Another small, rehearsal room.
Gated verb with 5-second hang time.
Dense, arena-like verb.
Self-descriptive,
Reversed delays. Very psychedelic.
Flangy, swirling delays.
Sounds like sound through slow fan.
This program generates a 440 Hertz sine
wave output: (level) controls the sine wave
output level, (freq) use thus to adjust the
output frequency.
This program produces a harsh alarm sound:
(rate) controls the alarm sweep rate, (tone)
controls the tone of the sound.
À dramatic bass swell is produced when this
program 1s triggered: (pluck) triggers the
effect, (detune) use this to detune the left
output pitch, (tone) makes the sound
smoother or harsher, (tune) adjusts the
overall tuning of the sound.
This program generates a familiar doorbell
sound when triggered: (ning) will ring the
doorbell, (tone) adjusts the tone of the
doorbell, (tune) controls the pitch of the
doorbell.
Look out! A 747 1s passing through your
control room!: (fly by) triggers the jet sound,
(speed) controls the speed of the jet
approach, (rumble) controls the amount of
bass rumble, (whine) controls the amount of
jet whine.
Similar to "Jet," this sound is reminiscent of
rocket stages being jettisoned, or perhaps a
spaceship blasting off: (jettison) will trigger
the effect, (speed) controls the speed of the
jettison sound, (whine) controls the amount
of high-pitched whine.
172
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SX, D/SE, 35
D/SE, H3500
D/SX, D/SE, 35
B+, BLT
B+ B/LT
B+, B/LT
В+, ВАТ
B+, B/LLT
B+, B/LT
406
407
408
409
410
411
412
413
414
415
416
417
NAME
LASER ECHO
PLUCK
SIREN
SONAR
STEREO COPTER
TANK ATTACK
THUNDER
UFO
WAVE
WIND STORM
BOB C'S PHASER
DEEPENED CL APS
H3000 Presets
ALGORITHM
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PHASER
ULTRA-TAP
DESCRIPTION
Use this to destroy those enemy invaders.
This one sounds like a sci-fi movie or a video
game noise: (fire) triggers the laser blast,
(sweep) adjusts the pitch sweep of the sound,
(feedback) controls the decay of the sound,
(tune) controls the basic pitch.
This effect 1s a convincing simulation of a
string being plucked, in stereo: (pluck) press
this to pluck the string, {detune) controls the
pitch of the left output, (tone) increase for
harsher string sound, (tune) controls the pitch
of the string.
If a siren is what you need, here's where to
look: (rate) controls the rate of the siren
sweep, (range) controls the range of the pitch
sweep.
This simulates the sound of a submarine's
sonar echo: (ping) triggers the sonar sound.
Use this 1f you need an easy helicopter
sound: (speed) controls the helicopter rotor
speed.
This program sounds like an arcade tank
game: (fire) will fire the tank when pressed,
(rumble) controls the bass rumble of the
explosion.
Try our thunderbolt: (bolt) triggers the
thunder effect.
This 1s our version of a spaceship taking off
and landing: (take off) will make the
spaceship take off. Press again to make it
land.
This sounds like a single, ocean wave:
(waveit) tiggers the wave sound.
Put your parka on before loading. Here 1s our
howling Arctic wind: (gales) controls the
intensity of the storm, (mix) allows a voice
to be mixed over the wind.
PHASER tweaked by Mr. Clearmountain
himself.
Swelling, fat delay, good on percussives.
173
UNIT
В+, ВАТ
В+, ВАТ
B+, B/LT
B+ B/A.T
B+, BLT
B+, BLT
B+, B/LT
В+, ВАТ
B+, B/LT
B+ B/LT
D/SE, H3500
D/SE, H3500
418
419
426
427
428
429
430
43]
433
434
435
436
437
438
NAME
SPACE FLANGE BC
SIEREO W FLANGE
SWEPT PANNER
TITESTEREO DLY
TITESTEREO CUE
VOC DOUBLER BC
2 MULTI EFFECTs
AMBIENT SLAP
BALLAD SNARE
BOOGALOO
CASTANET PSYCHO
CLACK
CRACK O'SNARE
DARK CELLAR
DAVE'S PLATE
DITH VERB
DRUM WHEEZE
DRUNKIT
DUAL FLAT FIXER
DUAL TOM SHIFT
H3000 Presets
ALGORITHM
SWEPT REVERB
SWEPT COMBS
SWEPT COMBS
STEREO SHIFT
MULTI-SHIFT
MULTI-SHIFT
MULTI-SHIFT
ULTRA-TAP
DENSE ROOM
PATCH FACTORY
BAND DELAY
PATCH FACTORY
PATCH FACTORY
REVERB
FACTORY
SWEPT REVERB
REVERB
FACTORY
PATCH FACTORY
SWEPT REVERB
MULTI-SHIFT
DUAL SHIFT
DESCRIPTION
Customized preset with flangy, panning
delays.
Widens your stereo image with flangy things.
Has LFO tied to width.
Real, tite-locked delays.
Tight, unlocked delays.
A voice thickener with a moving pitch.
Two independent shifters with panning,
semi-equivalent to two H949s.
Quick slap with an element of reverb.
A good verb for slow tunes. Has a long
predelay.
À jungle-sounding patch, try on toms.
Rhythmic, resonant delays.
Adds a clacky noise.
One of several presets good for snare
processing.
Good for growing mushrooms.
Plate-type reverb w/ a little chorusing.
Unusual, warm and thick verb.
Funny wheeze for something a hitle
different.
Too much tequila the night before.
Correct the 'out-of-tuneness' of wo vocalists
at the same time. The knob will control Ch
I's pitch, and a pitch bend wheel will control
Ch 2's. A sequencer will store your pitch
changes if you record them to it.
'NUFF SAID!
174
UNIT
D/SX, D/SE, 35
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
3500
H3500
439
440
443
444
445
446
447
448
449
454
455
456
457
458
459
NAME
DUCK VERB
EMPTY WATER
TANKS
FALLING FLANGE
FAT FLAM
Fine Young Snare
FIXT PITCH TOMS
FUNKshun TAPS
GATED KIK
GATED SNARE
GRIF RANDOM
H949 REV 3
HAT ROOM
HI HAT BREATH
HI HAT DELAY
ITCHY COO TOM
JOE'S GATE
JUNGLE 7
KERR VERB
KIT FLANGER
LEXY ROOM
LITE ROOM
H3000 Presets
ALGORITHM
REVERB
FACTORY
REVERB
FACTOR Y
PATCH FACTORY
LAYERED SHIFT
PATCH FACTORY
DIA TONIC SHIFT
ULTRA-TAP
REVERB
FACTORY
REVERB
FACTORY
DUAL SHIFT
PATCH FACTORY
SWEPT REVERB
SWEPT REVERB
PATCH FACTORY
SWEPT REVERB
REVERB
FACTORY
BAND DELAY
REVERB
FACTORY
SWEPT REVERB
REVERB
FACTORY
REVERB
FACTORY
DESCRIPTION
Reverb will 'duck’ slightly while a signal is
present.
Sounds hike the inside of one of those water
tOWEers.
Use 'P DELAY" to change repeat interval.
Tight delays to widen drum strokes.
Pretty, poppy processing,
Interesting tom thickener,
Discrete, reverb-like delays sweeping right
to left.
Thus 1s a gated, bass drum reverb.
Guess what this is?
A great thickener reminiscent of H949
random,
Basic configuration and sound of H949,
Check your hi-hat in here.
Makes hat a little more ambient.
EQ'd delays for hat.
Try it on toms, By the way, do you remember
the song?
A mice, gated reverb. Thanks Joe!
Adds jungle rhythms in 7/8.
Medium-dark, gated verb.
Neato, overall kit flanger.
Bright-sounding room with white tail.
Sounds great, less filling,
175
UNIT
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
13500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
NAME
LONG ROOM
LO PROCESSOR
MIDI GATE VERB
MIDI SWEPT VERB
OCTAVE DOWNERs
One And Ah 16th
One Car Garage
One Ee And Ah
One Ee Ah 16ths
PERC WAH WAH
PHONERING DELAY
ROOM 90x40x15
ROCK ROOM
SEXTUPLETS A
SEXTUPLETS
SEWER VERB
SHORT ROOM
SIMMONIZE
SMALL TILED RM
SON OF BIGSNARE
H3000 Presets
ALGORITHM
DENSE ROOM
SWEPT REVERB
REVERB
FACTORY
SWEPT REVERB
DIATONIC SHIFT
ULTRA-TAP
REVERB
FACTORY
ULTRA-TAP
ULTRA-TAP
PATCH FACTORY
ULTRA-TAP
ULTRA-TAP
DENSE REVERB
ULTRA-TAP
ULTRA-TAP
PATCH FACTORY
REVERB
FACTORY
PATCH FACTORY
REVERB
FACTORY
DENSE ROOM
DESCRIPTION
Long Verb.
Adds low percussive ambience to anything.
Use keyboard controller to change
parameters. Sustain pedal 1s tied to gate and
Mod Wheel 1s tied to decay.
Size 1s tied to pitch wheel and the sweep is
tied to modulation wheel.
Both channels take the drums down an
octave,
Gives you great 16th note subdivisions
(Cone-and-ah' as Lawrence Welk used to
say).
Small, tight reverb like a one-car garage.
One ee and ah sixteenth note subdivisions.
One Ee Ah (16ths).
And now, wah-wah for drums!
Delays timed to sound like an old,
phone-ring effect.
Simulates discrete style reverb of small room
with mentioned dimentions.
Power verb,
Variation of above,
This is, well, sextuplet delays.
Foul, hquid-sounding reverb.
A small reverb (four-car garage?).
See (#476).
The sound of Ivana's bathroom.
Remember Big Snare (#576)?
176
UNIT
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
480
481
482
483
484
485
486
487
488
489
490
491
493
496
497
498
499
500
501
NAME
STEREO TOM DLAY
SWEEP 8
THICK RICK
TILED HAT ROOM
TimBrAl bRooM
TIMID VERB
TINY WAREHOUSE
TOMBALLS
TOM SWEEP
TRASHY DRUMS
TWINKIE SHIFT
Two Warm Delays
WARP 2
WORD UP
MOON TURN TIDES
SMOOTH DELAYS
GIGUNDO CHORUS
KAMIKAZE DELAYS
ADSR FILTER
ADSR PHASER
H3000 Presets
ALGORITHM
MULTI-SHIFT
BAND DELAY
SWEPT REVERB
REVERB
FACTORY
PATCH FACTORY
SWEPT REVERB
DENSE ROOM
REVERB
FACTORY
BAND DELAY
SWEPT REVERB
MULTI-SHIFT
PATCH FACTORY
SWEPT REVERB
LAYERED SHIFT
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
PHASER
PHASER
DESCRIPTION
Delays that will follow the panning of the
inputs.
Pitched and timed delays.
Thickening, sweeping ambience.
This is a very large bathroom.
Wah-wahing ambience.
Subtle reverb/flanger.
This 18 the reverb of a small Hoboken, N.J.
sock outlet factory.
Good on toms.
Pitched delays for toms.
Want a really gntty drum sound? Load this
one.
Adds adorable, higher octaves.
These are so useful to add ambience without
"swishing" around.
Kind of a seasick preset. Warps pitch of
input,
Noise effect for snare or percussion.
Long delay that fails in pitch and time signal
is removed.
Slow, attacking delays with a lil’ ducking.
Use on vocal chorus to enlarge and thicken.
New, distorted delays that dive with signal.
When the sound into the H3500 goes over a
threshold, a sweeping, 'wah'-like, filter effect
1s triggered.
Like above, the input audio level will trigger
a sweeping, PHASER effect.
177
UNIT
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
D/SX, D/SE, 35
D/SE, H3500
D/SE, H3500
D/SX, D/SE, 35
D/SE, H3500
D/SE, H3500
502
503
504
505
506
507
508
509
510
511
513
514
NAME
ANALOG THICK
BASS CHORUS
BUENOS NOTCHES
DEATH FLANGE
DIGDLY & MICRO
DGDLY+WAH+MICRO
DUAL H910 MICRO
ENVELOPE FILTER
ENVELOPE PHASER
FLANGE € REVERB
FLANGER
INSTANT PHASER
JUST STEREO
H3000 Presets
ALGORITHM
PATCH FACTORY
MULTI-SHIFT
PHASER
SWEPT REVERB
MULTI-SHIFT
PATCH FACTORY
MULTI-SHIFT
PHASER
PHASER
SWEPT COMBS
SWEPT COMBS
PHASER
MULTI-SHIFT
DESCRIPTION
À warm, chorused, echo sound. Two
adjustable, lowpass filters provide the
Warmness.
Specifically tailored for bass, this is a
simple, micro-pitched chorus.
Pleasant, sweeping notches will result when
this effect is mixed with the dry audio.
À deep, intense flange that's great for
thickening up a synthesized bass line.
Dual digital delays with micro-shift on the
outputs. À nice sounding setup useful for
thickening up a synthesized bass line.
This ts an unusual combination of a digital
delay, a cycling 'wah-wah' filter, and a
micro-pitch shift,
This program 1s designed to function like two
Eventide H910 Harmonizer effects
processors. The glitching you hear is
intentional. This is a true dual program,
where both left and nght channels are
processed separately.
This program consists of a resonant filter
that sweeps as the input level changes. Try
expenmenting with the envelope-rate
parameter.
Here, a PHASER sweep follows the input
signal level.
This 15 a reverb with a subtle, flanging
effect.
This 1s a basic, stereo flanger. For the best
effect, mix the H3500 output with the dry
signal.
A straightforward, sweeping PHASER, in
memory of our famous product.
A very subtle, micro-pitch shift. Just enough
to add a presence to an otherwise flat, mono
sound.
178
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
515
516
517
518
519
520
521
524
526
527
528
529
NAME
MAGIC AIR
MANY REFLECTIONS
MICRO + DRYSLAP
MICRO + REVERB
MICROPITCHSHIFT
MICRO-REVERB
MICROPITCH-SLAP
MULTI-DLYEFFECT
MULTI-FLANGE
QUADRUPLER
RANDOM FLANGE
RESONANT SWEEP
RICH CHORUS
REAL CHORUS
SPACE FLANGE
H3000 Presets
ALGORITHM
MULTI-SHIFT
MULTI-SHIFT
MULTI-SHIFT
MULTI-SHIFT
MULTI-SHIFT
MULTI-SHIFT
MULTESHIFT
SWEPT COMBS
SWEPT COMBS
MULTI-SHIFT
MULTI-SHIFT
PHASER
SWEPT COMBS
MULTI-SHIFT
SWEPT REVERB
DESCRIPTION
This has two upward micro-shifis and two
delays ш a tight, ambient formation. Use to
liven and slightly raise flat vocals or to
generally thicken sources.
Numbers of micro-pitched echoes slowly
decaying upwards. Good, chorused, echo
effect.
A general-purpose thickener with some delay
with feedback.
Includes a micro-shift and a quasi-reverb set
of delays with feedback.
Thas 1s the perfect effect to fatten up or
widen a sound without adding any color.
Similar to above but much less discrete, with
tighter delays.
The left channel 1s micro-shifted and the
right 1s a slap delay with micro-shift. Great
for guitar.
All kinds of subtle things going on here.
Delays, echoes, flanging, chorusing.
With six delays being swept at once, this
program creates a very thick, flange sound.
Provides a dense, panned stereo field with
two sweeping shifters and two delays.
Denser than Voice Doubler (572) but similar
in effect.
Another doubling effect with random,
moving, micro-pitch shifts.
A medium-speed, resonant PHASER.
This program uses six delay lines to create a
useful chorus effect. Try increasing (m
delay) to get a subtler but more realistic
effect.
A convincing doubling effect. Pretty smooth.
This program is like a digital delay, a reverb
and a flanger all rolled into one.
179
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
H NAME
530 TREMOLO DELAY
531 TWO THICKENERS
532 ULTRA-THICK
533 VOICE DOUBLER
534 WATERY FLANGE
535 ANALOG DELAYS
536 BUILD-A-SHIMMER
537 CIRCLES
538 DIGITAL DELAY
539 DUAL DELAYS
540 ECHOPLEXINGPONG
541 ECHO RAMP
542 FAT SLAP
543 5TH AVE ECHO
544 LONG DELAY
545 MULTI-TAP
546 PING PONG BALL
547 SETTLEDOWN ECHO
H3000 Presets
ALGORITHM
MULTI-SHIFT
MULTI-SHIFT
MULTI-SHIFT
LAYERED SHIFT
SWEPT COMBS
PATCH FACTORY
ULTRA-TAP
ULTRA-TAP
LONG DIGIPLEX
DUAL DIGIPLEX
DUAL DIGIPLEX
LONG DIGIPLEX
ULTRA-TAP
ULTRA-TAP
LONG DIGIPLEX
ULTRA-TAP
ULTRA-TAP
BAND DELAY
DESCRIPTION
A long delay whose pitch warbles, creating a
thick atmospheric effect. Use on guitar
sound effects,
Two independent effects, each made up of a
delay with pitch shift, and a discrete delay.
General thickener with a nice, stereo image.
Sweeps two pitch shifters in opposite
directions giving a convincing doubling
effect.
Just as the name suggests.
Warm echoes provided by lowpass filters.
Eerie echoes that fade in and fade out.
A stereo delay effect that seems to circle
around your head. The effect is most
noticeable on short sounds, like handclaps.
A basic digital delay line, with feedback
control.
Two simple delays. One left, one right.
An echo that bounces from one side to
another.
A manually mggerable program with a delay
that sweeps down and up when the trigger
key 1s pressed.
A slap delay with an ambient sound.
Delays and diffusion are selected to sound a
lot hike those on a big city street.
Simple, long delay.
If you own an Eventide SP2016, you'll be
familiar with this sound. This preset
emulates the SP2016 Multi-Tap program,
with a slightly shorter overall.
Another echo that bounces side to side. But,
the echo shortens with time.
Echoes that go from bright to warm.
180
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
548
549
550
551
552
553
554
555
Lh
Cr
or
557
558
559
560
561
562
563
NAME
SOFT SHORT ECHO
SPACE ECHO
SUBTLE SWEEP
SWEEP RIGHT
THICK LOOP
THREE ON TWO
WIDENING TAPS
AMBIENCE
AMBIENT BOOTH
BATHROOM
CHORUS ROOM
(CRASS ROOM
DE-BURR
DREW'S CHAMBER
DRUM AMBIENCE
EMPTY CLOSET
H3000 Presets
ALGORITHM
DENSE ROOM
PATCH FACTORY
DUAL SHIFT
ULTRA-TAP
SWEPT REVERB
DUAL DIGIPLEX
ULTRA-TAP
ULTRA-TAP
DENSE ROOM
REVERB
FACTORY
SWEPT REVERB
DENSE ROOM
ULTRA-TAP
DENSE ROOM
DENSE ROOM
SWEPT REVERB
DESCRIPTION
A very smooth, diffuse echo.
Simulates a very popular tape delay from the
70's. Even adds tone controls and tape
warble for that thick, analog sound.
Two subtle, sweeping delays. This is ideal
for turning mono sources into stereo. Pan
original source to one side and its sweeping
delay to another.
Exponential increasing delays that are
panned from left to right. Mono in, stereo
out.
A repeating delay that fades into a reverb
sound.
The delays in this program are set such that
the familiar three against two rhythm is
produced; (feedback) controls the amount of
feedback, (mix) wet/dry effect mix.
The echoes get longer as time goes on,
spreading from the center to the sides of the
stereo field,
Use this to add ambience without muddying
the mix,
A short but natural reverberation.
Lots of highs left in by those ceramic tiles.
Short reverb with chorus. Nice for
instruments but perhaps not with drums.
A harsh, hollow reverb reminiscent of those
good old school days.
Takes the edge off of sharp attacks.
Medium-short, natural reverb.
A soft ambience that just barely livens up
otherwise dry sounds.
This reverb 1s very short. You almost can't
detect it. Use it for situations where you
really don't want to hear a reverb.
181
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
564
A
o
A
566
507
568
569
570
574
575
576
577
578
579
580
581
NAME
EMPTY ROOM
MEDIUM SPACE
NEW HOUSE
PRCSVHORN PLATE
REAL ROOM
SMALL ROOM
SMLSTEREOSPACE
SMALLVOCAL ROOM
TIGHT ROOM
TIGHT & BRIGHT
VOCAL BOOTH
ALIVE CHAMBER
BIG SNARE
BIG SWEEP
BOB'S ROOM
BREATHING CANYON
BRIGHT ROOM
CANYON
CONCERT HALL
H3000 Presets
ALGORITHM
SWEPT REVERB
SWEPT REVERB
SWEPT COMBS
DENSE ROOM
SWEPT REVERB
REVERB
FACTORY
SWEPT REVERB
DENSE ROOM.
DENSE ROOM
DENSE ROOM
DENSE ROOM
SWEPT REVERB
REVERB
FACTORY
SWEPT REVERB
DENSE ROOM
SWEPT REVERB
REVERB
FACTORY
REVERB
FACTORY
DENSE ROOM
DESCRIPTION
Medium reverb with slight chorus. Sounds
nice on regular instruments.
Another medium reverb with slight chorus.
This has a more natural sound and the chorus
1s very slight.
Use this to get that metallic sound of an
empty, reflective room.
A plate reverb that enhances natural or
synthesized hom sounds.
Short reverb with a natural airiness.
A small-room reverb.
Very short ambience with a slight chorus
added in order to give it a big, full sound for
its short duration,
Medium-length reverb tailored for vocals.
A short, bright reverb.
Like above but longer and brighter.
Short, natural reverb with a slight delay.
Large, chorus reverb. A real, full sound.
This is a sizzling reverb, somewhat gated
with lots of punch for drums.
To really hear the sweep, turn up the master
feedback, make some noise and then change
the master delay.
A warm, long reverb, useful on lots of
sources.
À very long reverb. Very roomy.
À short, bright reverb.
Our biggest reverb sound, like an echoing
canyon.
À big hall with a lot of predelay.
182
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
583
584
585
586
587
588
589
590
591
592
593
596
597
598
599
600
NAME
DARK ROOM
DISCRETE-VERB
NORTHWEST HALL
RICH PLATE
SLAPVERB
SMOOTH PLATE
WARM HALL
BACKWARD REVERB
ECHO-VERB
EXPLODING 'VERB
GATED REVERB
GATED ROOM
GATE ROOM
HUMP-VERB
METALVERB
RANDOM GATE
RESONANT WORLD
REVERSE GATE
H3000 Presets
ALGORITHM
DENSE ROOM
SWEPT COMBS
DENSE ROOM
SWEPT REVERB
DENSE ROOM
DENSE ROOM
REVERB
FACTORY
MULTI-SHIFT
DENSE ROOM
REVERB
FACTORY
REVERB
FACTORY
REVERB
FACTORY
REVERB
FACTORY
ULTRA-TAP
ULTRA-TAP
ULTRA-TAP
STRING MODELER
ULTRA-TAP
DESCRIPTION
Yes, another dark reverb. Sounds like the
inside of a big, petroleum tank.
A sparse, reverb effect.
Very similar to Concert Hall except that the
reverb 1s somewhat more discrete.
A slight sweep in thus reverb gives it a rich
sound and a smooth tail.
A short delay and then a bright, long reverb.
Airy and smooth.
Our basic reverb sound,
A quast-reverb made up of little, backward
bits of the input. One of a kind.
A discrete, echo-like reverb.
Thus sounds like a reverb, until the input
level goes above the gate threshold. Once
mggered, the reverb sound grows
explosively.
That very familiar drum effect. To change
the length of the 'gate' sound, set the gate
length parameter.
A warm-sounding, gated room best used on
one source such as share drum or toms.
Like above but with a more natural decay.
À very unique reverb with a sound not unlike
the name.
A metallic set of closely packed delays
approaching reverb density.
A "gated reverb sound created with the
ULTRA-TAP program. Great for drums.
This one 1s different. A long-lasting ‘reverb’
with bizarre resonances and echoes.
Another standard drum reverb.
183
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
# NAME
601 REVERB RAMP
602 =SHIMMERISH
603 TONAL ROOM
604 UP/DOWN REVERB
605 A MINOR CHORDS
606 ARPEGGIOS
607 BASS SHIFT
608 DEEPEN
609 DIATONIC DANCE
610 DUAL SHIFT EASY
611 GLITCH SHIFT
612 GREGORIAN SHIFT
613 H949
614 HAMMER-ON 3RD
H3000 Presets
ALGORITHM
SWEPT REVERB
SWEPT REVERB
SWEPT REVERB
MULTI-SHIFT
DIATONIC SHIFT
MULTI-SHIFT
MULTI-SHIFT
PATCH FACTORY
DIATONIC SHIFT
DUAL SHIFT
DUAL SHIFT
PATCH FACTORY
LAYERED SHIFT
DUAL DIGIPLEX
DESCRIPTION
A trniggerable, sweeping reverb. It sweeps up
the first time 1t 1s triggered and toggles from
then on.
A recirculating delay effect that fades into a
smooth reverb.
With pitched inputs, this reverb will actually
generate many other tones. On drums, this is
one of the biggest sounds you can get.
User selectable, rising or falling reverb-like
effect.
Play or sing a solo lme in A minor. The
H3500 will generate two perfect 'in-key'
harmonies.
Adds a fifth and an octave rhythmically,
along with a short delay.
A doubling effect intended for bass guitar.
One channel is shifted up an octave. The
other 1s slightly detuned.
Adds lower octave harmonics with a pitch
shifter sweep.
You play a note and after half a second, you
get a harmony, Use one note at a time, in an
effect loop.
An easy-to-use program featuring two pitch
shifters with function knobs set up, with
pitch calibrated in semitones (1/2 steps).
A ‘cheap’ sounding pitch shifter. If glitches
are what you want, here they are.
This program filters and pitch shifts input
voices to produce a chorus of droning monks.
This gives you what the H949 gave you.
One output 1s a straight delay while other is
pitch shifted. Both outputs are fed back to
the input.
You, too, can play like the flashiest guitarist,
without the years of hard work and shredded
fingers, Will take one note and arpeggiate it
to sound like a familiar two-handed guitar
technique.
184
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
# NAME
615 HAMMER-ON 5TH
616 HARMO-CHORUS
617 IN SIX
618 JUST 3RD & STH
619 JUST4TH & 6TH
620 MUSIC SHIFT
621 OCTAVE ECHOES
622 PITCHED ECHO
623 PITCH QUANTIZE
624 SUSPENSE
625 THIRD & FIFTH
626 THIRD & OCTAVE
627 TWELVE STRING
628 VIBRATO
629 VOICE SHIFT
630 ALIENS
H3000 Presets
ALGORITHM
DUAL DIGIPLEX
MULTI-SHIFT
MULTI-SHIFT
DIATONIC SHIFT
DIATONIC SHIFT
STEREO SHIFT
MULTI-SHIFT
MULTI-SHIFT
DIATONIC SHIFT
MULTI-SHIFT
DIATONIC SHIFT
DIA TONIC SHIFT
MULTI-SHIFT
MULTI-SHIFT
STEREO SHIFT
REVERSE SHIFT
DESCRIPTION
Similar to above but different intervals,
A pitch shifter and chorus combined.
6/8 time ts implied in this preset which adds
a fourth down, a minor third up, and a minor
sixth up.
A 'diatonic’ pitch shifter that will generate
Just-intoned 3rds and 5ths above the input.
Make sure to set the key properly.
Generates just-intoned 4ths and 6ths above
the input.
This stereo, pitch shift program is optimized
for shifting input program material.
Complex delays which are fed back and
combined with a radically down-shifted
signal.
Shows off one aspect of the MULTI-SHIFT
algonthm's feedback setup. Long echoes
come back shifted but the shorter delays
don't.
This program quantizes the input to the
nearest chromatic interval.
Echoes are shifted to create suspenseful
harmonies.
Generates an 'in-key' third and fifth above
the input.
This generates a diatonic third above and an
octave below the input.
Provides an octave down and a micro-pitch
shift, simulating a twelve-string guitar.
Instant vibrato at the press of a button.
This STEREO SHIFT program is optimized
for pitch shifting program material whose
main content is spoken voice.
Transforms voice into a rough, alien-like
sound.
185
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
H NAME
631 ANTI-AMBIENCE
632 AUTOPANNER
633 AVANTE-GARDE
634 BACKWARDS
635 BAND PAN
636 BAND SLAP
637 BANDSWEEPRAND
638 BAND SWEEP
639 BIZARREMONIZER
640 CANNONS
641 CRITICAL BAND
642 CRYSTAL ECHOES
643 DRUM PROCESSOR
644 FILTER PAN
645 FUTURE SHIFT
H3000 Presets
ALGORITHM
REVERSE SHIFT
SWEPT COMBS
REVERSE SHIFT
REVERSE SHIFT
BAND DELAY
BAND DELAY
BAND DELAY
BAND DELAY
LAYERED SHIFT
REVERSE SHIFT
PATCH FACTORY
MULTI-SHIFT
SWEPT REVERB
PATCH FACTORY
MULTI-SHIFT
DESCRIPTION
This 1s a reverb-like sound created from
REVERSE SHIFT. Sounds great on guitar.
Produces automatic stereo (left<->right)
panning.
A REVERSE SHIFT effect that generates
descending, chromatic lines.
Turns the mput around in one-second chunks.
Rhythmically, panned and delayed, with its
own bandpass filter,
A stereo, slap effect using two bands that are
fed back. One band is tuned higher.
A random-pitched set of bands that are
delayed and pass from left to right in the
stereo field.
Upward-sweeping bands passing from left to
right.
Generates a bizarre, upward-sweeping pitch
shift.
A unique, sweeping sound that's great on
drums. Try playing a tom solo through this.
A close approximation to Fletcher/Munson
bandpass curves. Use to brighten signals or
key compressors and gates to frequencies to
which our ears are most sensitive.
Words fail. A stairway of echoes reaching
for heaven.
This very different effect tends to make
things that aren't drums sound like drums.
Try adjusting the first four parameters for a
variety of effects.
A filter, sweep effect that seems to pan as it
sweeps.
A shimmenng, orchestral effect. Try on
swelling, monophonic synths or single-line
voices.
186
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
H NAME
646 LIQUID REVERB
647 LOWPASS FILTERS
648 MAJOR WIND HARP
649 MODULATORS
650 MODULATOR-VERB
651 OCTAVE FILTERS
652 PSYCHO-PANNER
653 RESONANT MALT
6534 RESONANT PENT
635 REVERSERB
656 RUNTHRUMYMIND
657 SCARY MOVIE
658 S/H PAN-A-DELAY
H3000 Presets
ALGORITHM
BAND DELAY
PATCH FACTORY
STRING MODELER
MULTI-SHIFT
MULTI-SHIFT
BAND DELAY
SWEPT COMBS
STRING MODELER
STRING MODELER
MULTI-SHIFT
BAND DELAY
REVERSE SHIFT
BAND DELAY
DESCRIPTION
A reverb-like program with band delays
whose filters sweep downward with
increasing delay length.
Two lowpass filters connected in series
process the audio. Use cutoff 1 and 2 to
control the rolloff frequencies. Use Q factor
1 and 2 to control the resonance of the filters.
The first in a series of resonant, reverb-like
programs. This program acts like
sympathetically resonating strings tuned to a
major scale.
Remember that ring-modulated astronaut
sound? Here it is, constructed from a pitch
shifter that reverses little segments of the
input.
Similar to above with more reverb-like
decay.
Gurgling, upward-sweeping filter bands.
This program swirls the input in pitch, pan
and delay: (range) controls the range of
delay and pitch sweep, (feedback) lower this
to reduce the decay time, (pan rate) controls
the panning and sweep speed, (mix) wet/dry
effect mix.
Sets up sympathetic resonances that form a
Major seventh chord.
Same as above, except resonances form
pentatonic scale.
A reverb-like effect made up of little,
backward bits of the input signal. Try
shortening the 'size' parameter to smooth it
out a little.
An echo that bounces and changes timbre
back and forth.
This program uses REVERSE SHIFT to
create an evil-sounding voice. Use with
guitar to create that tape splice, psychedelic
sound.
Very similar to Run ThruMyMind but with
different timbres.
187
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
H NAME
659 SLAP+WAH+MICRO
660 SPACE CRICKETS
661 STUTTER
662 STUTIER RANDOM
663 SWEEP DOWN
664 SWEEP & REVERB
665 SWEEP UP/DOWN
666 SWEEP UP LINEAR
667 SWEEP UP
668 TALKING GUITAR
669 TRIGGERED SCALE
670 TUBE CLONE
671 TWO-BAND FILTER
672 WAH WAH + MICRO
673 WAH WAH
674 WAH-VERB
675 A440
H3000 Presets
ALGORITHM
PATCH FACTORY
BAND DELAY
STUTTER
STUTTER
BAND DELAY
STRING MODELER
BAND DELAY
BAND DELAY
BAND DELAY
VOCODER
STRING MODELER
BAND DELAY
PATCH FACTOR Y
PATCH FACTOR Y
PATCH FACTORY
BAND DELAY
PATCH FACTORY
DESCRIPTION
A slap delay, a sweeping wah-wah, and a
microshift all from one program.
Circulating, up-sweeping band delays.
Use this for that popular STUTTER sound.
Random stutters at your control.
Rhythmically panned and delayed, with its
own bandpass filter.
Sounds reverb-like until manually triggered,
which causes a radical, mystical,
up-and-down sweep.
Band Delays on left sweep up, band delays
on night sweep down.
Rising band delays sweeping from right to
left.
Similar to above w/bands tuned one octave
apart.
Vocoder tailored for the guitar.
Another sympathetic resonator program,
except this one has a twist. Press the "trigger
key to get a unique, harp-like strumming
sound.
This is strictly meant for guitars. Play, with
distortion, directly through the H3500 and
this program will add a nice, crunchy EQ,
Two general-purpose bandpass filters with
tunable center frequency and filter Q.
Combines a sweeping filter (wah-wah) with
a micro-shift.
A basic, cyclical wah-wah sound using
filters and a function generator.
This sounds like a reverb with a wah-wah.
Need a reference tuning tone? Here it is.
You can mix in the sound you are tuning or
fine adjust the pitch for slightly different
tunings.
188
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
NAME
GUITAR-ESQUE
HVYMETAL CELLO
KEYBOARD
KOTO
LS BACH HARPSCD
LS BOWED STRING
LS CLAVICHORD
LS FAR STRINGS
LS HARP RESONS
L.S HARPSICHORD
LS HIT STRING
LS NOSTALGIA
LS PSEUDO PIANO
LS ZITHER
ALICE-VERB
DUAL GLIDEDELAY
FILTER SWEEPS
GLIDE DELAY
H3000 Presets
ALGORITHM
STRING MODELER
STRING MODELER
STRING MODELER
STRING MODELER
STRING MODELER
STRING MODELER
STRING MODELER
STRING MODELER
STRING MODELER
STRING MODELER
STRING MODELER
STRING MODELER
STRING MODELER
STRING MODELER
DENSE ROOM
DUAL DIGIPLEX
BAND DELAY
LONG DIGIPLEX
DESCRIPTION
Connect MIDI up and you have a mellow,
guitar sound. The input signal will also
affect the sound out.
The string 1s briefly bowed and left to ring.
The harder you hit the key, the longer the
bowing. Feeding input sound will affect the
timbre of the note.
An adjustable keyboard sound where you can
tailor the sound to your tastes. Also, try your
pitch wheel and hit the same note a number
of times,
By itself, a very delicate sound. Feed in
some input, and the sound takes on all kinds
of characters.
Bnght and crisp harpsichord.
An airy, resonant noise,
This is a more classical clavichord sound
than we're used to. Use pressure to bend the
notes.
Your not-so-standard string section.
A hollow, harp sound.
Like the Bach but fuller.
Crisp and fuil-struck strings.
This has that honky-tonk sound.
An almost piano.
Plucked strings that are full and chorused.
Hitting harder will change the timbre.
This 1s a reverb. With each note you hit, you
could have a different decay time. Also, the
harder you hit, the less bright the reverb.
The delay lines are controlled by MIDI
A recirculating sweep up is swept by the
function generator.
This is a mono version of Dual Glide Delay.
189
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
694
695
696
697
698
699
700
701
707
703
704
705
706
707
708
NAME
MIDI 3 ON 2
MIDI PEDALSWEEP
MIDIPLEX
MIDI BANDSWEEP
MODWHEEL REVERB
ROCK'N'ROLL
AIR
A LYDIAN 6THS
Am WATER WELL
A MIXO AIR
ANGEL HAIR
ARP
ARPEGGIATOR
BELL ECHOES
BIG & LONG
H3000 Presets
ALGORITHM
DUAL DIGIPLEX
SWEPT REVERB
LONG DIGIPLEX.
BAND DELAY
SWEPT REVERB
LAYERED SHIFT
STEREO SHIFT
DIA TONIC SHIFT
DIATONIC SHIFT
DIATONIC SHIFT
STEREO SHIFT
DUAL SHIFT
DUAL SHIFT
LAYERED SHIFT
DUAL DIGIPLEX
DESCRIPTION
This preset will sync up its delay times to a
MIDI drum machine or sequencer. The
delays are in the familiar 3 on 2 pattern.
The MIDI foot-pedal controller will
manually sweep the delays in this program to
generate a flange-like sound. The
Modulation Wheel controls modulation of
the delays.
Connect a MIDI drum machine or sequencer
to this program and the delay will
automatically be in time.
This program does process audio, but
generates an interesting sweep when a MIDI
note message is received,
When connected to a MIDI keyboard, the
Mod Wheel controls the decay time and the
Pitch Wheel controls the delay (room size).
Use this to easily generate dramatic reverb
sweeps.
This one's a bit different. Capture an audio
loop by pressing the ‘sustain’ parameter.
Play a note on a MIDI keyboard to hear the
loop. Moving the Mod Wheel will alter the
loop points (a bit like rocking tape reels).
A long, subtle echo.
Play solo lines using A Lydian modal scales.
If you don't know what a modal scale is, play
in the key of E major.
Creates delayed harmonies in A minor,
A seventh and third that's way back in the
mix. Play in À Mixolydian,
Ascending-octave echoes.
Arpeggio with major sixth and fourth.
Ascending-arpeggiated echoes.
Slap echoes, first up a fifth, then unshifted.
Doubling on the left, a long delay on the
right. Be sure to use both inputs.
190
UNIT
D/SE, H3500
/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
709
710
7H
712
713
714
715
716
717
718
719
724
725
726
727
728
729
730
731
NAME
BIG ROOM CHORUS
BIG GROUND
BIG LIGHT ECHO
BOUNCE VERB
CHORUS 'N' ECHO
CHORUS 'N' FLANGE
CLUSTER ECHO
DEATHLESS ROOM
DELAY TO WASH
ECHO BOUND
ENDLESS CAVE
EZCHORUS
FALLING FLANGER
GREEN WRINGER
HEAVEN
HELL
HEXA CHORUS
HEXA FLANGE
INSOMNIA
KICK BACK CHORUS
LOVE GUNPLAY INC
MINOR 7TH ECHOES
MONDO CHORUS
H3000 Presets
ALGORITHM
SWEPT COMBS
REVERSE SHIFT
REVERSE SHIFT
ULTRA-TAP
DUAL SHIFT
DUAL SHIFT
DIATONIC SHIFT
ULTRA-TAP
REVERB
FACTORY
ULTRA-TAP
ULTRA-TAP
LAYERED SHIFT
LAYERED SHIFT
STEREO SHIFT
REVERSE SHIFT
REVERSE SHIFT
SWEPT COMBS
SWEPT COMBS
DUAL SHIFT
DUAL DIGIPLEX
DIATONIC SHIFT
DIATONIC SHIFT
DUAL SHIFT
DESCRIPTION
A BIG, chorused-room sound.
A killer, atonal effect.
A psychedelic, REVERSE SHIFT effect.
You may see the light.
A boingy reverb that's perfect for adding a
real crunch to overdriven guitar.
Chorus on both channels, echo on the right.
Chorus on the left, flange on the right. To get
more flange,’ turn up the nght feedback.
A slap that comes back as a tone cluster.
Even crunchier than Bounce-Verb.
This repeating delay eventually fades into a
reverb.
Lefi/Right echoes keep coming at you then
stop.
A dense, cave-like reverb.
Instant, stereo guitar.
Flanger left, delay right.
Turns your guitar into vegemite.
Play anything into this. It will sound good.
An unearthly sound.
Super-thick chorus.
Super-thick flange.
Descending, chromatic intervals. This one
will keep you up.
A long delay that comes back in stereo.
If you like sevenths, you'll like this one.
Backwards minor 3rd and 7th echoes.
Sounds great if you play up high and dirty.
A wide chorus that still keeps its punch.
191
UNIT
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
733
734
735
736
737
738
739
745
746
747
750
751
752
753
754
755
756
757
NAME
OCTAVE DISPLACE
OCTAVE FRENZY
OUTDOOR ARENA
PARADITTLE
REVERB-a-BOUND
SLOPPY 3THS
SMALL Chorus ROOM
SMALL DARK ROOM
SPACE CATS
STUPIT GUN
SYNTHISH
TARUS BULBA Em
THE BLUBBA HOZE
TIGHT CHORUS
TRIPPLE SLAP
TRIPPLE TREAT
ADR TAPE HISS
BOING HIT
CIRCLES
DAY IN THE LIFE
DRAGWAY AD
FADE TO DREAM
GIL'S ROOM
GREGORIAN CHANT
H3000 Presets
ALGORITHM
LAYERED SHIFT
LAYERED SHIFT
REVERSE SHIFT
ULTRA-TAP
ULTRA-TAP
STEREO SHIFT
SWEPT COMBS
REVERB
FACTOR Y
SWEPT COMBS
STEREO SHIFT
DUAL SHIFT
DIA TONIC SHIFT
LAYERED SHIFT
STEREO SHIFT
SWEPT COMBS
DUAL DIGIPLEX
PATCH FACTORY
PATCH FACTORY
ULTRA-TAP
SWEPT REVERB
PATCH FACTORY
LAYERED SHIFT
REVERB
FACTORY
PATCH FACTORY
DESCRIPTION
Delayed octaves, up and down.
Octaves with feedback.
Big stadium, backwards echoes.
Diffused machine-gun echoes.
Thick reverb with a long attack time.
Detuned fifths. Great for solos.
A small room with an intense chorus.
A realistic, small-room reverb.
This defies explanation.
A dissonant pitch, sweep down.
Distorted guitar in, synth out.
A fifth up, fourth down, in E minor.
First a fourth down, then a fifth up.
A micro-shift that preserves stereo imaging.
Three closely spaced echoes.
Two long echoes, plus the original, make
three.
Provides hiss to use for matching edits
between analog and digital sources.
Sounds like a boing hit you know the show.
Delays that sound like they sweep in circles.
Long, nightmarish reverb.
One-stop preset for those annoying ads.
Gives illusion of drifting off into dream.
Smooth, roomy reverb. Sounds good to Gil.
Adds fifths to input ala Gregorian Monks,
192
UNIT
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SX, D/SE, 35
D/S X, D/SE, 35
D/SX, D/SE, 35
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
NAME
HOUSE VERB
JET FLY BY
LASER HIT
MassiveSting Tap
MEGAPHONE
Moving VocalSprd
PLUCK HIT
PULSING ROOM
RANDOM SHIFT
REVERSE DOGS
RIPPED WOOFER
SHIMMERISH
STEREO COPTER
ST PETERS CATH
TELEPHONE
THUNDER BOLT
TV/RADIO/JUKE
VOICE DISGUISER
WalaWala
WARPED LP
WINDSTORM
H3000 Presets
ALGORITHM
SWEPT COMBS
PATCH FACTORY
PATCH FACTORY
ULTRA-TAP
PATCH FACTORY
MULTI-SHIFT
PATCH FACTORY
DENSE ROOM
LAYERED SHIFT
REVERSE SHIFT
PATCH FACTORY
SWEPT REVERB
PATCH FACTORY
REVERB
FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
SWEPT COMBS
DUAL SHIFT
STEREO SHIFT
PATCH FACTORY
DESCRIPTION
Sounds like the echo in a new house without
furniture,
Convincing stereo, jet plane.
"Captain, I can't make the shields last much
longer!”
Delays set mondo-wide and big for strings.
Come out with your hands up.
Left output moves up nine cents, right moves
down nine cents, with sine wave modulation.
Hi-tech, plucking sound.
Long, warm verb.
Random-shifting thickener.
Low octaves, howling backwards.
Damn! Should have kicked in the subsonic
filter for that jet sample!
Ethereal sounding, verb-like effect.
Stereo-sounding helicopter.
BEEEG reverb senor!
One-stop, telephone-voice sound.
Sounds like thunder.
Sounds hke box in the next room.
Useful for covering identity of interviewee's
voice for controversial/confidential radio or
television appearances.
Conversation simulator three from one.
Guess what this sounds like?
Bundle up before you load this preset.
193
UNIT
H3500
H3500
H3500
H3500
13500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
779
780
781
782
783
784
785
786
793
794
795
796
797
798
799
800
801
803
NAME
DIRECT BOX
MEAN OCTAVES
PIGNOSY
R & B PLUCK
SCREAMER DELAY
SCREAMER uPITCH
SILVERTONE II
ULTRALUX
CLONEVERB
LIKE ENOSE INE
LONG £ SMOOTH
MEAT LOCKER
MIDI 3 ON 2
MIDIPLEX
MULTI FLANGERS
allpass detune
anti-duck feedback
awesome flange
awesome knob
H3000 Presets
ALGORITHM
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
PATCH FACTORY
REVERB
FACTORY
REVERB
FACTORY
REVERB
FACTORY
REVERB
FACTORY
DUAL DIGIPLEX
LONG DIGIPLEX
SWEPT COMBS
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
DESCRIPTION
Very clean, direct box. See manual for
changing gain. Avoids analog to digital
converters unless ‘effect’ 1s turned up. At
unity gain, S/N 1s well over 100dB on
Channel 1.
Distortion with octave pitch shift.
À popular, Httle guy.
Has that clean sound with flange and delay.
Gritty distortion with delay.
Gntty distortion with added delay and
harmony.
That old beginner's sound.
Bright, rhythm sound.
Bright, medium room.
Resonating gated and echo in key of E.
Long, smooth, bright hall.
Sounds like a meat-locker-sized space.
Delays scaled by MIDI clock period.
Single delay scaled by MIDI clock.
Resonant set of flangers. Watch clipping.
Uses two detuners in series to give a unique,
reverb-like chorus.
Dual delays that feedback only while audio
is present.
Two flangers in series give some super
notches with pitch detuning on the output.
The awesome flanger with manual control:
(the knob) use this to manually sweep the
flanger.
194
UNIT
H3500
H3500
H3500
H3500
H3500
H3500
H3500
H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
H3500
D/SE, H3500
All Units
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804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
NAME
band compress
band flip
bandsplit delay
boing
bpm panner
bpm trips and gtr
bpm trip pan
bpm x-fed duck
chorus/duck trm
chorus/duck dly
chorus/pan dly
chorus room
compress 21
detuned space
detune darkly
dual long delay
H3000 Presets
ALGORITHM
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
DESCRIPTION
A fixed 21 dual-band compressor.
Thus patch splits the input signal into two
bands, a high band and a low band. The
output continuously crossfades between these
two bands.
Splits input signal into two bands and passes
each band through a separate delay line. The
low band goes to the left output channel and
the high band to the right.
A strange, triggered, pitch mutilation.
An autopanner with the pan rate controlled
by the BPM setting.
Beat-per-minute triplets on one side, quarter
note on the other.
Beat-per-munute triplets feeding an
autopanner.
Two ducked delays adjusted in
beats-per-minute. The output of delay 1
feeds back into the input of delay 2 and
vICE-Versa.
Detune chorus to the left and right and a
ducked, tremolo delay in the center.
A detuned chorus and ducked delays.
Pitch detuning on the left and right with a
dry, autopanned repeating delay.
A reverb-like chorus.
A fixed 2:1 compressor. Use envl
parameters to control the compressor.
Detuners arranged to give a small-room
sound.
Detuning with control over high-frequency
rolioff.
Two independent delay loops. Use delay
controls to change delay and feedback.
195
UNIT
All Units
Al Units
All Units
All Units
All Units
All Units
All Units
All Units
All Units
All Units
All Units
All Units
All Units
All Units
All Units
All Units
820
821
822
823
824
823
826
827
828
830
83]
832
833
834
835
NAME
dual duck delay
dual panners
dual tremolo
ducked 'verb
dynamic feedback
dynamic flange
dynamic tremolo
envelope detune
envelope filter
envelope flange
env filter/slap
env filter/verb
envelope pan
ethereal
ethereal logic
etherpan
H3000 Presets
ALGORITHM
MOD FACTOR Y
MOD FACTOR Y
MOD FACTORY
MOD FACTOR Y
MOD FACTOR Y
MOD FACTOR Y
MOD FACTORY
MOD FACTOR Y
MOD FACTOR Y
MOD FACTORY
MOD FACTOR Y
MOD FACTOR Y
MOD FACTOR Y
MOD FACTOR Y
MOD FACTORY
MOD FACTORY
DESCRIPTION
Two independent delay loops with gain
ducking. Use delay controls to change delay
and feedback. Use envelope controls to
adjust gain ducking.
Two independent autopanners.
Two tremolos, with delays.
A chorused, reverb-like effect that ducks
with the input.
Dual delay loops with lowpass filters in the
feedback loop. The filter frequencies are
modulated by the input envelope to give a
downward sweep to the feedback.
The input level controls the amount of
feedback in this two-voice flanger. Higher
input levels give a more resonant flange.
Tremolo, with the rate controlled by the input
level. The output is detuned to give a stereo,
chorus effect.
A stereo detuner with dynamic control of the
detune amount. Greater input levels increase
or decrease the amount detuning,
That classic, funky sound. This uses both
filter 1 and 2. Use env! attack and envl
decay times to control the envelope response.
A two-voice flanger with the envelope
sweeping the delay.
Envelope filter into a slap delay.
Envelope filter into a cheap reverb.
Pan position varies with input signal level.
Higher levels are panned left and lower
levels are panned night. Use env ! controls
to set attack and decay times.
A very watery, haunting reverb.
The ethereal reverb modulated with a square
wave.
The ethereal reverb followed by an
autopanner.
196
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836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
NAME
ethertrem
exponential
filter sweep
flange pan
flutter
funky squares
fuzz/chorus
fuzz/clean chrs
fuzz/eg/comp
fuzz/eq/rotary
fuzz/eq/tremolo
fuzz-head
gated ghost
gated multitap
haas panner
Haas pan/manual
H3000 Presets
ALGORITHM
MOD FACTOR Y
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTOR Y
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTOR Y
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
DESCRIPTION
The ethereal reverb feeding a tremolo.
Four chorused, delay taps with exponential
spacing. Use BPM to set the amount of
delay.
A funky, triggered, filter sweep. The input
signal triggers the sweep. To set the trigger
level, adjust LFO 1 threshold.
Dual autopanners with delay modulation.
A more intense, dynamic tremolo.
A pair of highly resonant, square-wave,
modulated filters.
A fuzz box feeding a detuned chorus. The
detune is right and left, with dry distortion in
the center.
Fuzz in the center with a clean-pitch detune
left and might.
A 21 compressor precedes the distortion.
Also has two bands of eq and independent
left/nght channel delays. Adjust filter | and
2 to control eq.
Fuzz into a rotating speaker simulation.
Fuzz into a tremolo.
Super, high-gain fuzz with resonant
overtones.
The ethereal reverb followed by a noise gate.
Use the envelope follower parameters to
adjust the gate.
A chorused, multi-tap delay followed by a
noise gate.
An autopanner that varies the delay to the
left and right channels to enhance the realism
of the panning effect.
A manual panner that varies the delay to the
left and nght channels to enhance the realism
of the panning effect.
197
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853
854
855
856
858
859
860
861
863
864
865
NAME
h:->efx lo->noefx
high->lft low->rt
knob zippers
manual flange
mid: efx rack
overdub loop
overdub-detune
overdub/tremolo
overdub dual
panning bands
panning delays
panning detune
pan mto delays
H3000 Presets
ALGORITHM
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
DESCRIPTION
A frequency-dependent gate that lets the high
notes into a chorus delay effect. Use cutoff]
and cutoff? to adjust the crossover point.
A frequency-dependent gate that steers the
high notes to the left channel and the low
notes to the right channel. Use cutoff! and
cutoff? to adjust the crossover point.
Use the knob to control delay time, giving a
zipper effect.
Use the knob to flange. This is a subtle
version, try "awesome knob” (#803) or "rich
flange/man" (#872) for more intense
flanging.
This ts set up to use with a MIDI controller
like the MIDI mitigator. Each parameter of
this patch is assigned to a different MIDI
controller. This patch gives you a pair of
ducked, BPM delays in parallel with a
pitch-detuning chorus.
A long loop with delay modulation that
overdubs without overload. Use delay 1 to
control the length of the loop.
An overdubbing loop like above, except with
detuning on the left and night outputs. The
dry loop output 1s panned center. Also, this
patch has BPM control over the loop length.
An overdubbing loop with chorus and
tremolo. BPM controls the loop length. The
chorus 1s panned left and night. The tremolo
1s panned center.
Dual overdubbing delay loops with knob
modulation of the delay times.
Dual autopanners fed by fixed bandpass
filters. Use filter 1 and 2 parameters to
adjust the characteristics of the bands.
Dual delays, each with its own autopanner.
An autopanner with the left and right
channels detuned.
An autopanner that feeds a cross-fed pair of
delays.
198
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866
867
868
869
870
871
873
874
875
876
877
878
879
880
881
NAME
panner
pan squarely
ping-pong
ping-pong duck
quivering echo
rich flange
rich flange/man
rich rhythm
sine flange
slap center
slide into tune
speaker spinner
square chorus
stereo detune
stereo enhance
stereo widen
H3000 Presets
ALGORITHM
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTOR Y
MOD FACTORY
MOD FACTOR Y
DESCRIPTION
Autopan using a frequency-modulated
oscillator,
Autopan with a square-wave oscillator.
A pmg-pong delay with controllable high
cut.
Like above, with ducking on the delays. Use
envelope controls to adjust ducking
parameters.
A uniquely modulated delay. Use BPM to
adjust delays and modulation.
A flanger built with wo delays and
cross-coupled feedback.
The same flanger as above, but this one has
manual control.
À very diffuse, chorused pair of repeating
delays. Use BPM to set the tempo,
A very smooth flange that uses a sine wave
to sweep the delays.
Detuned chorus on left and right with a dry
slap in the middle.
The input envelope bends the pitch upward.
Use envelope controls to vary the dynamics
of the pitch bend,
A rotating speaker simulation. Even takes
time to come up to speed.
Pitch, detuning modulated by a square wave.
Splits stereo signal into L+R and L-R. In
addition to controlling the balance of L+R
and L-R, L+R can be detuned.
This patch plays around with the L-R
component of a stereo mix. Delay and EQ of
the L-R signal are controllable with
softknobs,
Adds delay to L+R to give wider center
image.
199
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884
885
886
887
888
889
890
893
894
895
896
897
898
NAME
strange loop
swell
swell reverb
swell taps
throaty
tremolo
triggered air
triggered flange
triggered pan
trig pan r->i->r
true flange
undulator
vibrato
whaaat-a-panner
whoopie
wide tremolo
wilting phrase
H3000 Presets
ALGORITHM
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
MOD FACTORY
DESCRIPTION
Output switches between two different delay
loops, giving an interesting, rhythmic effect.
A gam swell tnggered by the audio input.
Use thresh to adjust the trigger threshold.
The ethereal reverb modulated by a
triggered, amplitude swell.
A multi-tap delay gated with a triggered
LFO. Use LFO thresh to adjust trigger
threshold.
An envelope flanger based on the awesome
flanger.
A stereo tremolo with independent left/right
delay control. Use delay 1 and delay 2
parameters to set delays.
A rich, chorused reverb whose output is
gated by a triggered LFO. The left input
triggers the swell. Use thresh] to set the
trigger threshold.
Audio mput tnggers flange sweep. Threshl
adjusts the trigger threshold.
Audio input alternately triggers a pan to the
left, then to the night. Thresh! controls the
tngger threshold.
Audio trigger pans right to left to right.
Thresh1 controls the trigger threshold.
Thru-zero flanging. This uses two delays to
get flanging that actually passes through zero
delay.
Tremolo on top of a multi-tap delay.
Vibrato with controllable delay.
Two bands that pan and change cutoff
frequency.
Very strange envelope-modulated noises.
Tremolo with different delay on left and right
gives a nice, stereo effect.
After a phrase 1s played, the pitch drops.
200
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899
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
NAME
x-coupled ducks
MULTI DOUBLER
MUTRUM
HIGH SWELLS
NewBnghtChambr
SmallEmptyClub
PAPER PLATE
OTHERS MONO DLY
007 PHASE GUN
PHASER GTR
ROEYs PHASOLOGY
USEFUL VERB 2
POOBLICE ON 9
R & B DIRTSKI*
REAL CHORUS 2
ResonatelnEnozE
ROBO DRUM
AIR SHAMIR
ONVELOPE FILTER
UK STYLE VERB
SHO 1Z TITE VRB
SMALL é LIVE VERB
H3000 Presets
ALGORITHM
MOD FACTORY
SWEPT COMBS
PATCH FACTORY
REVERSE SHIFT
DENSE ROOM
DENSE ROOM
REVERB
FACTORY
LAYERED SHIFT
PHASER
PHASER
PHASER
REVERB
FACTOR Y
LAYERED SHIFT
PATCH FACTORY
MULTI-SHIFT
SWEPT COMBS
PATCH FACTORY
DENSE ROOM
PHASER
REVERB
FACTORY
REVERB
FACTORY
REVERB
FACTORY
DESCRIPTION
Two ducked delays with cross-coupled
feedback.
Flangy thickener. Try on background vox.
Garbly, alien sound.
High shimmer for synth pads.
Medium-large, bright chamber.
Tiny, empty club you worked at last week.
Small, thin-plate reverb.
Basic delay with feedback.
Sci-fi, fun gun.
General-purpose PHASER. Try on Guitar.
Deep and slow, is the way to go.
Generic reverb, medium well.
Deghtched, hi-end sound, L+12, R-11.
Nice thickener for guitars. Distorted
ambience.
Randomized doubler. Smaller than preset
#528.
Verby at first, then more tuned delay-hke.
Adds cylon ambience to percussives.
Tight, lil’ thang.
Long, cool sweep. Cool on bassy things.
It's Brit-ish, mate.
Tight, gated reverb. Bright.
Funny, gated, little verb. Ha Ha.
201
UNIT
Al! Units
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SX, D/SE, 35
D/SX, D/SE, 35
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
996
997
998
999
NAME
SNARE SLAP
STRING MODLER#9
TALKIN BUM
THUNDER TOMS
H3000 Presets
ALGORITHM
PATCH FACTORY
STRING MODELER
PATCH FACTORY
PATCH FACTORY
DESCRIPTION
Poppy, delayed effect.
Droning sounds in the background.
Sounds hke bums sayin ‘walla, walla.’
One-of-a-kind, falling ambience for toms.
202
UNIT
D/SE, H3500
D/SE, H3500
D/SE, H3500
D/SE, H3500
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