Eventide Ultra-Harmonizer H3000 Series Instruction Manual
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Eventide Ultra-Harmonizer H3000 Series Instruction Manual

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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 i s a registered t rademark o f EventideInc. for itsaudiopitch shifterspecial effectsdevices,
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WA
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H3000
Ultra-Harmonizer®
INSTRUCTION
MANUAL

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Summary of Contents for Eventide Ultra-Harmonizer H3000 Series

  • Page 1 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 i s a registered t rademark o f EventideInc. for itsaudiopitch shifterspecial effectsdevices,...
  • Page 3 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 choicesare 115or 220 volts. Always usea properly grounded, t hree-prong AC outlet. Always usea 3-wire line cordlike theone suppliedwith theH3000.

  • Page 5: Table Of Contents

    Table of Contents The H3000 Family of Products ... The Front Panel and Controls ..Changing InputLevels ..H3000 Specifications ... Running the H3000 ..Softkeys and Menus 7 Setting the Display Contrast 7 Setting the Levels 7 The Bypass Control 8 L.oadinga Program 8...
  • Page 6 Appendix A ~ ParameterModulation ....Appendix B - Expert MIDI ..Appendix C - MIDI Sequencing Details ....... MIDI Parameter Numbers 31 MIDI Program Change 32 MIDI Volume 33 AppendixD - MIDI Implementation Chart ....
  • Page 7 The Front Panel and Controls \‘\}/! MODEL 13000/ oo o ,/5!// Oy ctoonlUl coopl D0 || ULJRA-HARMONTZER] “I (10) Program Button: Press this button to load, save, or remove programs, Function Button: Press this buttonto adjust display contrastand to access user defined functions. Also found here is the internal function generatorand anything relating to MIDI.
  • Page 8 The H3000 Family of Products The Eventide H3000 Ultra-Harmonizer is a family of productsbased arounda multi-purpose programmable, digital audio signal processor.The productsthat make up the H3000family are: The H3000-S (Studio),the H3000-SE (SpecialEdition), theH3000-B (Broadcast), t heH3000-B+, theH3000-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.

  • Page 9: Panel And Connections

    The Rear Panel and Connections _— ‘\\—g— K “:_‘- \\ ay PORT & aupfe x t— aupil1 ¥ c-«z,, — (ooc;\ '@*o) (’cro)/, ((O cg\' & 2 NS PORT PORT - PRPT HENAN \_.' /’/// —’ AC Connegtor: This is where the AC power cord is connected.It's an IEC standard3 prong connector.The center postis chassisground.

  • Page 10: Output Attenuator

    Optimum Performance from the H3000 To obtainthebest performance f romyournew EVENTIDE unit,certain operating principles shouldbeapplied. U se the “hottest” inputlevelspossible without c lipping.A digitalgaindevice is usedin theinputsection whichallowsfront panel control of levels. This device works best when it is "turnedall the way up" in otherwords when it attenuatesleast. At the factory,we choseprolevels of +4 dBm,andinternal jumpers1through 4 should bein the"+4 position”(see diagram onnext...

  • Page 11: Changing Inputlevels

    Changing Input Levels The inputlevelsof theH3000can bechanged toaccept either +4dBmor -10dBmnominal o perating levels.They aresettopro audio,+4dBmat thefactory.To change thisremove thetopcoverof theunitandpull thesmall j umperblocksfrom the+4 pins and put themon the -10 pins. JUMPERS _J:Q.] ZEFFCCT RoM 4...

  • Page 12: H3000 Specifications

    H3000 Specifications Inputs Stereo, true differential balanced Outputs Stereo, differential, transformerless Dynamic Range Greaterthan 92dB "A" weighted .01% (.007% typical)@ 1kHz, I dB belowclippingin "pitch Distortion change" mode, 0 shift, levels all at 0 dB Sampling Full 16 bit resolutionat 44.1 kHz sampling rate Frequency Response 5 Hz to 20 kHz +/-1 dB, +/-.5 dB typical Delay...

  • Page 13: Running The H3000

    Running the H3000 Softkeys and Menus The bottomline of the display containsthe MENU. The menuconsists of up to four SOFTKEYS. Each softkey (the text within the parentheses)describes the function of the buttonimmediately below it. In general, the functionsof the softkeys will change dependingon whetherprograms are being loaded,effects parametersare being edited, etc.

  • Page 14: The Bypass Control

    The Bypass Control The bypass control allows you to completely bypass the processedaudio. When the light on the bypass switch is on, you are hearing processed audio.Whenthe lightis off, theunitis bypassed. Pressing thebypassswitch togglesfrom unbypassed t o bypassedand vice versa. The unit is automaticallybypassed when power is off. Loading a Program To load a program,press the "PROGRAM?"...

  • Page 15: Soft Functions

    Whenyou're in editmode, t hetopleft of thedisplay will showthe current p rogram number. The toprightof thedisplay shows the parameteryou are currently adjusting.A parameteris somethingwhich will change some aspectof the sound of the currently loaded effect.If youturnthe knob,usethe up/down buttons, orentera number o nthe keypad, y ouwill changethat parameter.

  • Page 16: Saving An Edit

    with g!'+"ora! " fornegative o Saving an Edit Now thatyou're a pro at editing programs,you'll probablywant to save what you've created.If you're in edit mode, pressing the "PROGRAM" buttontwice will allow you to save your edit. The display should look like this: [101] wLaYeféd”Shift Current...

  • Page 17: Removing User Programs

    Removing User Programs There may come a time when you wish to remove someof the userprograms. Get into the Selected Program list/loadmode. Pressingthe "PROGRAM" button oncefromedit modeshould doit. The displayshould show: Selected program SpeCLal Effect {oiLoad Orlg;n Remove Press the ( Remove ) softkey. The display will change to: Press ( Yes ) toremove the program.Press ( No ) if'you've changedyour mind and still want to keep theprogram.

  • Page 18: Parameter Modulation

    Parameter Modulation Have you ever wished the H3000 had morethan one knob on the frontpanel? Or perhapsthat therewas some way to automatically sweep parameters? Or perhapseven some way to controleffects parametersfrom the mod wheel on a MID] keyboard? If anything like this has crossedyour mind, then "ParameterModulation" is for you. Simplyput,"Parameter Modulation"...

  • Page 19: Patching To Trigger Parameters13

    The display shouldshow: The (range ) and (per note) keys determinehow much the controller changesthe effect parameter. Press (range ) and the displaywill change to: 07m6Ee L pitch ->mod range: 1200 ( Parmtr. ) ( Sourceiy:(:irdange “#)i(per note) The first number(the range) shows how much the effect would change if the controller changed over its full range. In this example, i f thefunction generator changed fromzeroto maximum, thepitchwould increase by 1200cents.

  • Page 20: The Function Generator

    There are four soft functions available for patching. The first page of the "FUNCTION" key menu is dedicatedto the four soft functions. When a soft function is first patched, themenu will display the key as " Knob 1", " Knob 2 ", etc. These names can be editedto display anythingyou like.
  • Page 21 Pressing (Trigger ) will trigger a one-shotfunction or restarta continuousfunction. To activate the trigger from a soft function or throughMIDI, patch "FuncTrig" to your desiredtrigger. Press (Function) to select the type of function. Tumn the wheel to scroll througha list of the function types. The function types include continuousfunctions and one-shot(triggered) functions.

  • Page 22: Modulation Control

    Modulation Control At times you may wish to disablethe modulationof parameters.You can do this by hitting the (Control ) soft key in the modulationof parametersmenu. You will get: ontrol ‘of "Parameter Modulatlon (Mod=:0n- ) (ModReset iiia Pressing (Mod= XXX) will toggle parametermodulation. (Mod= On ) meansmodulationis enabledand (Mod= Off) means it is disabled.Modulation is automatically e nabled whena program is loaded.

  • Page 23: Introductionto Midi

    Introduction to MIDI What is MIDI? MIDI standsfor MusicalInstrument Digital Interface. T hat'squitea mouthful. W hatit meansis thatthereis nowa way for musicaldevices to talktoeach other.MIDI wasoriginally devised by a groupof synthesizer m anufacturers toallowone keyboard orsequencer orcomputer t o control a nyother keyboard or sequencer orcomputer i n a standard, foolproof w ay. It hassince become sowell accepted thatjust about a nyimaginable m usical(or notso musical)device nowcomes equipped with a MIDI interface.

  • Page 24: How To Hook Up Midi

    How to Hook up MIDI The easiest way touseMIDI is withtheUltra-Harmonizer andoneMIDI synthesizer. To hookit up,simplyusea MIDI cable toconnect t heMIDI Outof t he synthesizer t otheMIDI In of theUltra-Harmonizer. With thissetup youcanuseMIDI program change and have real-time (live) control over effects parameters. MID: In| H2000 MIDI REYBOARD [aprou: JUUENN...

  • Page 25: Using Midi .O

    Using MIDI MIDI Receive Enable Pressingthe "FUNCTION" key three timeswill bringupthe MIDI Functions menu.It shouldlook something l ike this: (Rev=On ) is the master MIDI receptionenable softkey. This lets MIDI datainto the H3000. (Rcv=On ) meansyes, MIDI data will be received. (Rev=Off) meansno, the H3000 will not receive any MIDI data.

  • Page 26: Program Changebank Select20

    MaptheMIDI program number t o some otherH3000 effectsprogram number. F orexample, 2 MIDI program change of 23 could load effect program5, while MIDI programchange of 24 could cause effect program 19 to be loaded. To havetheH3000 respond in thisway,hit thesecond softkeyuntilit reads(Pgm=Map). Again, makesure Program Change 1senabled.

  • Page 27: Enablesfor Sequencing

    Enables for Sequencing When in sequencemode ("'Seq=on""), you can customize what aspectsof the machineget transmittedand received over MIDI. Normally,virtually everything doneonthe frontpanelwill gettransmitted a ndreceived. If youwishto change this,press( Enables). The displaywill show: Enables (Lv1s=0ff) (Bgm= Here is a descriptionof the transmission parameters: Lvls=On/Off: Turns on and off the transmissionof front panel level changesand changesin the bypass control.
  • Page 28 MIDI OUT fromthe H3000tothe MIDI IN on thecomputer. Connect theMIDI OUT fromthe computer t otheMIDI IN on theH3000. To dumpdata fromthe H3000,press the "FUNCTION" button five times.You should seethis display: MIDI'‘Computer and Sequencer Fungtions (Seq=0ff)( Endbles) . Dumps Now press ( Dumps ): DUmpb”Data Functlons‘...

  • Page 29: A Final Word

    A Final Word... The information aboveis intended t oallowyouto usetheH3000 withMIDI andtogive you a description of themodes of MIDI operation of whichit is capable. Since MIDl is a relatively new phenomenon, y ou may have some questions. If you are a MIDI novice, this entirediscussion may be incomprehensible. If you are a MIDI expert,you may have questionsthatwe never thoughtof, and to which we have no immediateanswers, We hopewe hittheright levelforthe majorityof people whoarelikely tohave purchased t hisproduct.

  • Page 30: Appendix A - Parameter Modulation

    Appendix A - Parameter Modulation The followingis a list of theavailable modulation c ontrollers. Scaler-type Controllers The following are usedto control value type parameterslike pitch, delay, decay, etc. Modulation Wheel Movingthe Modulation Wheelcanchange theeffect parameter. Withthe Modulation Wheelmoved all theway backward (position zero), the amountof pitch shift, for example, will be at the point you last set.
  • Page 31 This 1sthe oppositeof the above. It's the lowest key to be pressedafter reset state,(no keys pressed). You can use this to controltwo parameters, like rightandleft pitchshifton onekeyboard. Note Offset & PW From no keys down (reset state)pressa key. The amountof parameterchange goes to zero. Press anotherkey. The difference betweenthe first key and the last key is the amountof change.
  • Page 32 GP Controller #3 MIDI #18 GP Controller #4 MIDI #19 GP Controller #5 MIDI #80 GP Controller #6 MIDI1#81 GP Controller #7 MIDI #82 GP Controller #8 MID] #83 Damper Pedal Portamento Pedal These are pedal controllers. Your synthesizershould sendout 0 and max values for these, so the parameter1s changed betweentwo values (on or off).
  • Page 33 The currentprogram may add some controllers. Certain programshave informationthat could be useful for modulating parameters(Input Pitch, Amplitude, etc.) These will appearas you scroll throughthe list, Trigger-Type Controllers These are usedwith trigger-type parameters. They areevents thatwill trigger something to happenin the H3000. First Note The firsttimeyou hita noteafterno notesaredown will triggersomething t ohappen.
  • Page 34 The current programmay add some controllers. Certain programsrecognize eventsthat could be useful for triggering. These will appear asyouscrollthrough thelist. Specifiers For Modulation Modes Cht+ This 1sa numberrepresenting a MIDI channeloffset. The numbershown is addedto the base channel. If the sum exceeds 16 then 16 is subtractedfrom the number(it wraps around).

  • Page 35: Appendix B - Expert Midi

    H3000s(up to 100,to beexact) anddirect messages t oa specificone. Normallythis is leftatzero whenonly oneH3000 is being used. Set this numberuniquely for each H3000 you are using. The (SysX=On ) is an enablefor receptionof Eventide System Exclusive information. Pressing this will change the "On" to “Off", thus preventing any Eventide System Exclusive informationfrom being accepted.
  • Page 36 To leavethe MIDI Monitor, p ressthe bypass switch twice. This will takeyou backto theexpert functions. Press ( more ) for another MIDI Expert menu: Fixes for :MIDI Probl _more ) (Off=Both) (Bank=SyX) This menu deals with fixing some problems with MIDI, Pressing (Off=Both) will allow you to select three modes;...

  • Page 37: Appendix C - Midi Sequencing Details

    Appendix C - MIDI Sequencing Details MIDI Parameter Numbers The H3000usesthe MIDI parameter system to dosequencing a ndcontrolling. This systemuses certaincontrollers t o specify parameter numbers a nddata. Two controllers a retheMSB andLSB of thedatavalue to bewritteninto theparameter. Another two are used to define a Registered Parameter. This is a parameterthat all of MIDI-dom has decided will have this function.

  • Page 38: Midi Program Change

    Bypass relay 1s 8196 (2004H) value from 0 (bypassed) to 1 (through the H3000) Program Bank numberis 8197 (2005H) value from 0 to 10 ( O through9 is first digit of H3000 programnumber, 10 is last edit ) Soft Function 1 scaler is 8208 (2010H) value from -5000 to 5000 ( 50 * displayed value ) Note: due to limitations in MID], this is 1/2the resolution of which the knob is capable.

  • Page 39: Midi Volume

    When you load Last Edit, a Bank Select of 10 is sentwith a programchange of 0. The Bank Select is sent one of two ways. The proposedMIDI Standardway is a Universal System Exclusive Real Time message. There is also a non-standardway using a parameterchange command(see above).

  • Page 40: Appendixd - Midi Implementation Chart

    Appendix D - MIDI Implementation Chart Function Transmitted Recognized Remarks Basic Channel Defanlt 1-16 1-16 Changed 1-16 I-16 Mode Default Mode 2 Mode 2 or 4 Messages Mode 2 or 4 Altered Note Number True Voice 0-127 Velocity Note On Note Off After Touch Keys...

  • Page 41: Appendix E - Midi Dump Requests

    Appendix E - MIDI Dump Requests A computer h ooked uptothe MIDI inputport canorder theH3000 toperform dumps overtheMIDI output p ort. The computercan do this by sending messagesto the H3000. These messageare called System Exclusive messages. In the beginning of eachmessage are somebytes thatare called the leader: The leader bytes are: sysex start manuf.ID...

  • Page 42: Appendix F - Clearing Ram

    Appendix F - Clearing RAM Undercertain rareconditions, theuser program memory maybecome corrupted (fromcorrupted d atadumps, b ugsin our program, e tc.) To return theH3000 to a normal o perating s tate, y oumay needtoclear thememory andbegin witha clean slate. We have provided a way for you to do this. Beware! This will remove all of your presets.

  • Page 43: Appendix G - Tips And Tricks

    Appendix G - Tips and Tricks Loading Programs To load a specific program, insteadofusing the knob or up/downkeys, simply enterthe programnumber with the keypad. To load the programpress "Load" or press the enterkey on the keypad. Adjusting Contrast Any timeyoupress the"FUNCTION" key, you will beableto adjustcontrast. Nothingonthe displaywill sayso,but if the knob isn't doing anything else, it will adjust contrast.
  • Page 44 Transferring Presets From One H3000 to Another H3000 By connecting theMIDI OUT of o ne H3000totheMIDI IN of another, you can"Dump"a preset, o r all thepresets fromone H3000to another.Makesurethat the"DeviceNumber" is thesameforbothunits andthat(SysX=0n ), (seeAppendixB). To send one presetto anotherH3000, first load thatpreset. Then go the dump menuand press (DumpEdit). The program is now the currentpresetin the othermachine.

  • Page 45: Appendix H - Version 2.X Enhancements

    Appendix H - Version 2.X Enhancements This versionof theH3000 software contains manynew features a ndsome changes.Here is a briefdescription of whatis new for this version: Modulation of effectparameters hasbeen expanded to includenew MIDI modes andtotake advantage o f thenewbuilt in functiongenerator a nduser-definable knobs.

  • Page 46: Warranty Information

    It DOES NOT COVER shipping damage,cither to or from Eventide. If you receive a new unit FROM US in damagedcondition, notify us and the carrier; we will arrangc to file an insuranceclaim and eitherrepair or exchange the unit.
  • Page 47 WARRANTY WORK The ONLY company authorizedto performwork under this warranty is EVENTIDE, Little Ferry, NJ. While you are free to give it to anyone, (or to work on it vourself), we will not honor claims for paymentfor LABOR or PARTS from you or from thirdparties.
  • Page 48 INDEX 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 ..
  • Page 49 RemMOVe. 2,5,11, 36, 109 Sample .. 39, 64, 86, 102-106, 114, 122, 192 Save 2,7,10, 11, 21, 38, 83, 98, 106 Select ... 3,7,10, 12-15, 20, 25, 29, 30, 32-34, 39, 41, 78, 79, 83, 103, 113, 122 Sequenced ..17, 18,21, 34 Sequencing ...

  • Page 50: The Algorithms

    The Algorithms There are many factory programsresident in the H3000. These programsare based a smaller numberof algorithms. An algorithimis the digital signal processing equivalentof an analog circuit, such as a compressor,an equalizer, or an analog delay. Each of thesealgorithms is versatile enoughto give a wide variety of sounds.Our factory programs areJust a startingpoint for your own limagination.

  • Page 51: Algorithmn100 - Diatonic Shift

    Algorithm 100 - Diatonic Shift S+SE+B+B++B/LT *D/SX » D/SE * 3500 Description This is the most musically useful, real-time, pitch shifter algorithm. Set the H3000 to any key signatureor your own scaleorharmonic p attern andplayin tunein thatkey. Pick therightand leftvoice harmony intervals andnow we've got harmonythat stays in key.

  • Page 52: Expert Mode Parameters

    Quantize on or off This parametertunes the outputto the nearesteven-tempered interval. It corrects pitch. If the H3000 is tunedto A- 440 with the Right Voice set to unisonan out of tune A at the input (447 for example) will produce a pitch-corrected A-440 attheright output.It corrects bothchannels atonce.
  • Page 53 Interval -2400 to +1200 cents This key selectsthe harmonicinterval betweenthe note selectedin Note 1 and the harmonythat the H3000 will play. For example, if you set C = +300 cents and D = +500 cents when you trill betweenC and D the H3000 will trill betweenEb and G.

  • Page 54: Algorithm101 - Layeredshift

    Algorithm 101 - Layered Shift S+ SE+B+B++B/LT - D/SX- D/SE+ 3500 Description This algorithm uses the left input to createtwo 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 outputsare able to use any combination o f these.The result...
  • Page 55 L Mix 0 to 100 per cent Modulation R Mix 0 to 100 per cent Modulation The mix levelsarethe balance between theoriginal or drysignal andtheeffect or wetsignal attheleft andright outputs.A 50%mix will resultin equallevels of dryandwet sound. Sustain on or off The Sustain key will "loop"one pitchperiod of theinput signalmuch like a sampler.

  • Page 56: Block Diagram

    Algorithm 102 - Dual Shift S+SE+B+B++B/LT+D/SX » DISE +3500 Description Algorithm 102 gives you two completely separatepitch shifters. One pitch shifter uses the left channelinput and outputwhile the otherusesthe right channel. Each pitch shifier has independentcontrol over pitch, delay, feedback andmix.
  • Page 57 Left Mix 0 to 100 per cent Modulation Right Mix 0 to 100 per cent Modulation The left mix level is the balance betweenthe original or dry signal andthe effected or wet signal at the left output. A 50%mix results in equaldry andwet sound, Sustain on or off The Sustain key will "loop”...

  • Page 58: Algorithm 103 - Stereo Shift

    Algorithm 103 - Stereo Shift S« SE+B+B++B/LT +D/SX+ D/SE*3500 Description The Stereo Pitch Shift algorithm is for operationwith true stereoinputs. The unique deglitching takes both input channelsinto account without mixing the two audio signals. The shifter maintainsstereoimaging and mono compatibility.Parameters of bothchannels a djusttogether t o forma greatproduction tool. As with all H3000 algorithms, theparameters areMIDI controllable.
  • Page 59 Expert Mode Parameters Low Note 9Hz to C7 This is used to optimize the pitch shifter for the best possible performance(i.e., smallest delay, smoothestpitch shift). Set this for the lowest noteyou reasonablyexpect to pitch shift. (Important: The lower this note is set, the longer the delay of t he pitch shifter.) High Note C4t0C8...

  • Page 60: Algorithm104 - Reverse Shift

    Algorithm 104 - Reverse Shift S+ SE«B+B++B/LT «D/SX »D/SE +3500 Description Things aren'twhat they seemto be. This algorithm speaks,sings or grunts back to you in reverse with pitch shift. Two pitchshiftersin fact. Add variablesplicelengths andfeedback to thisandtheworld of b izarre effects(in real time)takesonnew proportions.
  • Page 61 L Feedback 0 to 100per cent Modulation R Feedback 0 to 100 per cent Modulation This will control t heamount o f feedback fromthe leftor right output t othe input. Withzero pitchshift thisis like a backward digital delay. Usewith pitchshift anddelay toget backward arpeggiation. N otethat bothright andleft channel f eedback arereturned tothe sameinput point.

  • Page 62: Algorithm 105 - Swept Combs

    Algorithm 105 - Swept Combs S+ SE«+B+B++B/LT+ D/SX+ D/SE* 3500 Description Picturesix highqualitydigital delayunitsracked together; eachhas 1/4second delay,modulation controland feedback; all are patched to a 6 input, stereo mixer. Automation allows simultaneous control over the digital delays andmixeror separate c ontrol o vereach. All haveextensive MIDI control.Thatis thepowerof theSwept Combs algorithm.
  • Page 63 m Rate 0 to 100 per cent Modulation Master Sweep Rate is the full name of this parameter. It's the master sweep rate generator control. Sound complex? Let's explain whatthe sweep generator d oes.Each of the6 delayshas its ownsweep generator a ndthat generator acts as a modulator (synth.
  • Page 64 The InputMode in this algorithmbecomes very powerful. With it set to mono alt 6 delay lines, feedback lines and the stereomixer are dedicatedto the left channe]input signal only. Take the weakest, most dry, thin sound and process it through theH3000and... instant s trength.SettheInput Modeto stereo andwe havethepossibilityof two independentprograms.

  • Page 65: Algorithm 106 - Swept Reverb

    Algorithm 106 - Swept Reverb S+SE+«B+B++B/LT+D/SX ' D/SE » 3500 Description Imagine this... you're in a large room, a cathedral. There is a wonderful sound ringing throughthe air (that's your music), now the room startsto move while you stay still. It moves forward, side to side, up and down then around in circlesand somersaults.
  • Page 66 m Depth 0 to 100 per cent Modulation This MasterDepth Control a ffectsthedepth of theindividual s weepgenerators w ejust described.It determines h ow farthedelay changes areallowedto go. The algorithm usesa random number g enerator t oprovide depth.This createsa thicker texturethan conventional sweep generators. This controller is again a Master Depth Controller and it works proportionallylike the others.
  • Page 67 Levels Leftln -48to48 dB RightIn -48to48dB LeftOut -48to48 dB RightOut -48to48 dB The level parameters allowindividual p resets toalterthe inputand output l evelsof theH3000. The levelssethere are addedto or subtractedfrom the "master"levels. See the levels section in "Running the H3000" for further information.

  • Page 68: Algorithm 107 - Reverb Factory

    Algorithm 107 - Reverb Factory S+ SE«B«B++B/LT*D/SX - D/SE » 3500 Description The amount o f usercontrol o vercritical parameters in theReverb algorithm makestheH3000 unique.Along with the standardPredelay, Decay and Mix parameterscomes a switching Gate and tight control over Delay parameterswhich change the characteristicsof reverb itself.
  • Page 69 On Decay 1 to inf.+5 seconds Modulation Reverb decay time is the length of time the sound continues after the sound sourcehas stopped. In this parameter the Decay time for the gate on is adjusted. In other words, when a signal is loud enoughto open (or trigger) the gate it will then reverberate for this set length of time.

  • Page 70: Gate Parameters

    Gate Parameters Note: The next threeparameters are found by pressingthe Gate softkey. Speed 0 to 100 The parameterthat controls how fast the gate respondsto a strong enough trigger is the Speed. At slow values (near 0) it will takea longerperiod of theinput signalbeing abovethe threshold (described below)to triggerthegate. At fast values (near 100) a quick high level signal will be able to trigger the gate.

  • Page 71: Algorithm 108 - Ultra-Tap

    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 separatebut connected functions. The mono-in, stereo-out program is a diffusor which generatesa dense field of delays and it is a series of twelve digital delays connectedto a twelve channel stereomixer.

  • Page 72: Quickset Parameters

    Diffusor 0 to 100 per cent Modulation This is the Master Diffusor control for the All Pass Filters. It works proportionally like the othermaster controls. An All Pass Filter recirculates(feeds back) a delayed signal to its own input. However, unlike a delay line with feedback, i ts frequency r esponse i s flat.
  • Page 73 Exponential D ecreasing Random Spacing Hereare graphic illustrations o f each: constant ‘ I{mear‘ increase > & ’ L SERERENEE Delay Delay exponentlial increase linear decrease — 1 ! 1 ]‘ ! Delay Delay exponential decrease random > ’ & ’...
  • Page 74 Here are graphic illustrationsof the weight settings: constant linear increase ‘ EEEE Delay Delay [exponentia] increas . linear decrease ’ > ’ Delay Delay lexponential decrease random TR I '_3! AREEENERR Delas Delay Pans see listing below Each of thetwelvedelay tapshasa panlocation. This parameter gives different s hapes tothestereo image. Hereare the nine choices: PannedCenter PannedLeft...
  • Page 75 #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 signalto output b utthetime between eachtap. Here'san example; i f all Tap Delaysare setto 20msthe firsttap would sound20ms after the input signal, the secondwould be 20ms after that or 40ms from the input signal.

  • Page 76: Algorithm 109 - Long Digiplex

    Algorithm 109 - Long Digiplex S+*SE+B+B++B/LT-D/SX *D/SE +3500 Description Algorithm109is onelongdelay linecapable of recirculating i ts output backto its input. The output is sentto both right and left channels. MIDI controllableparameters include up to 1.4 seconds ofdelay, an adjustablefeedback (recirculation) level, infinite repeatand mix level. Block Diagram Feedback Left Input»—>»...
  • Page 77 Expert Mode Parameters Glide Speed 0 to 100 Modulation This is thetime it takesthe H3000to respond tochanges in thedelay time settings. What's gliding? Well, that's what happens w henthe delaytime is changed drastically onthe frontpanel. With glideon, a largedelay time change will slowly and smoothly change the perceived audio delay.

  • Page 78: Algorithm 110 - Dual Digiplex

    Algorithm 110 - Dual Digiplex S+ SE+Be«B++B/LT+ DISX «DISE +3500 Description Dual Digiplex is similar to Long Digiplex (Algorithm 109) it provides two separatedelay lines each with its own controls. Delay time on each channelis up to .7 seconds. Block Diagram Feedback Left Inpulb——>...
  • Page 79 Expert Mode Parameters Glide Speed 0t0 100 Modulation This is the time it takes the H3000 to respondto changesin the delay time settings. Gliding occurs when the delay timeis changed drastically. Withglide on,a largedelay timechange will slowlyand smoothly changethe perceived audio delay.

  • Page 80: Algorithm 111 - Patch Factory

    Algorithm 111 - Patch Factory B+B+« B/LT« D/SX» D/SE+ 3500 Description The Patch Factory algorithmgives the user a bit of almosteverything. This algorithm contains a pitch shifter, two tuneablefilters (Thesecan be lowpass, highpass, or bandpass),two delay lines and a white noise generator. Using thesebasiceffect elements, a flexiblepatching scheme andsome"glue”...
  • Page 81 Delay 1 0.0 to 500.0 milliseconds Medulation Delay 2 0.0 to 500.0 milliseconds Modulation These parameters control t heamount o fdelay fordelay lines1 and2. The delayis adjusted in milliseconds andis adjustable to the nearest tenthof a millisecond. Scale 1 ~100.0 to 100.0 per cent Modulation Scale2 -100.0to 100.0per cent...

  • Page 82: Important Note

    Source polyphonic- * -solo This is another p arameter usedtotunethe pitchshifter performance. Move thestartowards "polyphonic” for polyphonic input sources(for example, a full mix), andmove it towards the "solo" for monophonic instruments(like a solo flute). The last word though, is your own ear. Adjust this and all parametersuntil the effect sounds the best! Patching This is where the fun really starts.

  • Page 83: Algorithm 112 - Stutter77

    Algorithm 112 - Stutter SE «B« B++ B/LT* D/SE- 3500 Description The Stutter algorithm is used to createthat popularst. st..stutter sound - in real-time, without the need for a sampler or cumbersome digital delay acrobatics. Block Diagram —>» Pitch Shifl }—b:LDelay ~—pLeft Output Left...

  • Page 84: Trigger Parameters

    Levels To access the level adjustmentparameters, pressthe softkey labelled "levels” on the last parameterpage. Pressing "return"will bring you back to the normal parameterpages. 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 parametersallow individual level adjustmentsto be editedand saved with each user preset.

  • Page 85: Trigger List

    Trigger 1a see trigger list Trigger 1b see trigger list Trigger 2a see trigger list Trigger 2b see trigger list Trigger 3a see trigger list Trigger 3b see trigger list Trigger 4a see trigger list Trigger 4b see trigger list These eight parameters select the effects to be patchedto trigger keys 1 through4.
  • Page 86 upl max 0to 100 up2 max 0 to 100 These set the maximumpitch for sweepgenerators1 and 2. dnl rate 0 to 100 dn2 rate 0 to 100 These control the rateof pitch sweepgenerators1 and 2 for sweeping down in pitch. dnl min 0to 100 dn2 min...
  • Page 87 Algorithm 113 - Timesqueeze B+ B+»H3500-B Description TheTimesqueeze algorithm is usedto speed upor slowdown pre-recorded p rogram material w ithoutaltering the pitch. Whenusedin conjunction witha variable-speed audiotape recorder, thisalgorithm will automatically c ontrol thetape machine playback speedandmake the necessarypitch correctionfor the desiredamount of time compression (speedingup) or expansion(slowing down).
  • Page 88 Now enterthe desiredlength of the compressed(or expanded)program. For convenience, the original length is given asa starting point. Enterthetimeas before.Whenthe desired timehasbeen entered, press(done). The H3000 (and the tape machine, if it is using the H3000B speedcontrol) is now set up to change the length of the recordedprogram.
  • Page 89 levelis low,this paramerer shouldbe setlower. This parameter shouldbe adjusted by earforthe bestsound. If this parameteris set too high, weak vocal soundsmay sound"chopped out". If that is the case, adjustthis parameterto a lower value. Tape Machine Interfacing Parameters The tapemachine parametersare usedto enablethe H3000 to control the speedof a tape machine for time conpression and expansion.
  • Page 90 Tape Machine Hook Up In orderto controlthe speedof a tape machine,the H3000 musthave a tapemachine interface (this is included in the H3000B, B+ and H3500B). The H3000 only supportsfrequency controlled tape machines. To connecta tapemachine for frequencycontrol, connectthe frequency outputof the H3000 to the frequencyoutput of thetapemachine.

  • Page 91: Algorithm 114 - Denseroom

    Algorithm 114 - Dense Room SE «D/SE +H3500 Description This algorithm offersa muchimproved earlyresponse c haracteristic overthe original "Reverb Factory" program.In addition, this algorithm has greaterreverb "density” and bettercontrol over source positioning within the simulated room. The apparent source location canbeeasily controlled withthe front/back p ositioncontrol andthe panning control.

  • Page 92: Expert Parameters

    Early Mix 0 to 100 per cent Modulation The Early Mix parametercontrols the natureof the early responseof this reverb. A setting of Owill result in a more coherent e arlyresponse, especially withtheposition settothefront of theroom. Highersettings will resultin a more diffuse sound.

  • Page 93: Algorithm 115 - Vocoder

    Algorithm 115 - Vocoder SE «D/SE « H3500 Description This is theH3000 versionof theclassic "vocoder”. A vocoderis usedto impress the articulatory c haracteristics one instrument onto the timbreand pitch of another. Usually the articulation information (the "analysis" input) comes from a spokenvoice, while the timbre and pitch come from a keyboard, guitar, or any other instrument (the “synthesis"...
  • Page 94 Expert Parameters Max Resonance 0 to 100.0 per cent Modulation The maximumresonance control determineshow "ringy" the synthesis filter is allowed to get. High settings of this may resultin more accuratetracking, but may resultin more "blurbles” in the output. Min Error 0 to 100.0per cent Modulation This parameter,the minimum error,determines how close the synthesis filter tracks the input spectrum.
  • Page 95 Algorithm 116 - Multi-Shift SE « D/SX « D/SE » H3500 Description What,another p itchshift program?Well, yes,butthis one'sgota few neattricks upits proverbial s leeve. Borrowing from researchdone with the TimeSqueeze® program,this programhas superiorpitch shift quality. The Multi-Shift algorithmhas beenoptimized for micro-pitch shift, allowing any source material to be processed without adding artifacts.
  • Page 96 Feedback 0 to 10.0 milliseconds Modulation This is a "global”scaling control f ortheamount o f feedback.This hastheeffect of controlling all fourfeedback levels at once. Image L<->R to R<->L Modulation The "Image” control determinesthe width of the outputstereo field. This works in conjunction with the expert "Pan" parameters.
  • Page 97 This parameter selects between twodifferent p itchshifting modes. "Fast"is exactlylike ourold pitchshifters. "Slow" is intendedfor small pitch shift amounts,such as micro-pitch applications. This allows us to have virtually glitchless micro-pitch shifting. L Deglitch On or Off R Deglitch On or Off This parameter controls whether "...
  • Page 98 Algorithm 117 - Band Delay SE +D/SE - H3500 Description This algorithm is a multi-tap delay line, with each of its eight delay outputsconnected to a separatebandpass filter. The outputsof the eight bandpassfilters are combinedin a stereomixer. Many unusual effects can be createdby adjusting theparameters of thebands.
  • Page 99 Q Factor 0 to 100.00per cent Modulation This simultaneously scales the Q factor, or "resonance” of all of the filters. The filters are such that the higher the Q factor, the higher the gain throughthe filter. But since a smaller band of soundis being let through, the perceived gain is aboutthe same.
  • Page 100 "Circular" Thusis like "Ordered”, with the exceptionthat it doesn'tresetto filter 1 after an "all notes off" condition. The filter tunings continue circulating from I through8 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.

  • Page 101: Algorithm118 - String Modeller

    Algorithm 118 - String Modeller SE +D/SE +H3500 Description This algorithm is a bit of a departure f romour usual. Instead ofjust processing audio,the String Modeller algorithm can createsounds of its own. This algorithm digitally simulatesa set of six strings. When processing audio input, thesestrings act as passive resonators, yielding a soundsimilar to singing into a piano while holding down the damper...
  • Page 102 Sustain on or off Modulation This parameterfunctions very much like a sustainpedal on a synthesizer. Setting "Sustain" to "on" will sustainany notesreceived (limited by the available voices). When playing with a MIDI keyboard, this parametercan be patched to thesustain pedal.Patch"Sustain” to "Undefined Small#64"toget a standard MIDI SustainPedal. Gate 1 to 100 Modulation...
  • Page 103 This is the speedof the chorus sweep. Large values will give a faster rate, and a more intense chorus. Depth 0to 100 This is therange of delay that the chorus will sweep. The maximum value of 100 corresponds to a sweep range of about 300 milliseconds.
  • Page 104 can be tunedeither manually (by setting the "note"parameters) or with a MIDI keyboard. If you've set up a tuning with MIDI andyou desireto save it, set "hold" to "on" and save a preset. Once hold is set to "on" MIDI will no longeraffect thetuning.

  • Page 105: Algorithm119 - Phaser

    Algorithm 119 - Phaser SE +D/SE « H3500 Description This algorithm is a mono-in, s tereo-out phase shifter, s imilarin theoryto a guitarist's foot-pedal p haser.The dry signalis mixedwith the phase-shifted s ignal (created by a seriesof all-pass filters)to produce a seriesof notches, whose frequencies c anbe sweptby altering thefilter characteristics.
  • Page 106 ADSR Rate Scaler 0 to 100 per cent Modulation This just scales down the Attack, Decay, and Release ratesof the ADSR. This does not appearon the front panel when not in ADSR mode. Sweep Mode 0 (sweep), 1 (envelope), or 2 (adsr) This switch is usedto patch either the LFO, the envelope, or the ADSR to control the allpass filter frequencies(and thereforethe notch frequencies).
  • Page 107 Envelope Decay Shape 0 (linear) or 1 (exponential) This switch controls whether t heenvelope decaysin a linear fashion (0), or whether t he envelope's d ecayslows down gradually as the level decreases (1). Levels To access the level adjustment parameters, pressthe softkey labelled "levels” on the last parameter page.

  • Page 108: Mono Mode

    Algorithm 120 - Studio Sampler H3500, available as an upgrade option for all other units Description This algorithm will digitallyrecord 11.8seconds of stereo or23.7 seconds of monoaudio (47.5/95if you boughtthe H3000 - dfk/e). Two separatesamples can be recordedinto memory and played back using front panel buttons, audio triggering, o rwitha MIDI keyboard.The beginandend pointsof thetwo samples canbeedited using"rock 'n'reel"...
  • Page 109 Additional trigger keys have been addedto allow easy auditioningof sampleswhile adjustingthe pitch, time, attack and releaseparameters. Recording Afterloading theStudio Sampler program, thedisplay will showthe sample memory beingcleared andwill then presentthis menu: To record a sample into the H3000, first press (record). If the programhas Jjustbeen loaded, the display will then show: If a samplehas beenrecorded into memory since loading the program,you will have the option of recordingto sample 1orsample 2.
  • Page 110 mode,pressthe appropriateplay key; the loop will play out to the end of the sample.To stop the sampleimmediately, press "stop". Editing Pressthe"-edit 1-"and"-edit2-" keystoeditthestartand endpointsof thetwo samples.Thenpressthe "start"key to editthestartpointof thesample, o rpressthe"stop"key toeditthestoppoint of thesample.Tuming theknobwill control the startand stoppoints, and the display will indicatethe times in seconds. The audio outputwill mimic the effectof ananalogtaperecorder t hatis beingmanually shuttled backandforthto findaneditpoint.
  • Page 111 Expert Parameters Triggers Trigger Mode off or audioetrigger The Trigger Mode parameteris used to enable or disable audiolevel triggering of the sample playback. Threshold 1 Threshold 2 These two parameters determinethe thresholdat which an audio signal will trigger sample playback. Threshold 1 is usedforthe triggering of sample1by theleftinput channel a ndThreshold 2 is usedfor sample 2 withtheright input channel.
  • Page 112 Record Mode monophenic, stereophonic The Record Mode settingdetermineswhether the H3000 recordsin stereoor mono. The record mode should only be changed beforerecordinga new sample. More specifically, a samplerecordedin mono cannot be changed into a stereo sample by changing thisparameter. A lso, whentherecord modes setto stereo, t heavailablerecording time will be halved and only one samplemay be played back at a time.
  • Page 113 Usingmod factory™ modfactory fortheEventide H3000is a collection of twonew algorithms a ndonehundred preset e ffectspatches thatadda new angle to the already impressive effects repertoireof the H3000. With this software, effects such as delay ducking, BPM delaysand sweeps, c ompression, manual f langing,smooth autopanning, audiotriggered sweeps andmuch, muchmore arenow possible.

  • Page 114: Algorithm 122 - Mod Factoryjone

    Algorithm 122 - mod factorylone B+ «B/LT *D/SX «D/SE «3500 Description This is a "modular” effects processingalgorithm. Software "patchcords" can be used to connectthe processing modules shown below in any desiredconfiguration. The main building blocks are a pair of sweepabledelays, a pair of state-variablefilters, two low-frequency oscillators, two envelopedetectors,and two amplitudemodulators.
  • Page 115 This controls the wet/dry mix of the H3000. A setting of 100 per cent will give only the effected signal at the outputs. 30 to 200 beats/min Modulation The BPM control works in conjunction with the BPM controlsof delay 1 and 2 and Ifo 1 and 2. Essentially, this parameter determinesthe time value of a beat(quarter note).

  • Page 116: Low Frequency Oscillators

    The two delay modulesin this algonithmhave a variable amountof delay, dependingon the hardwareconfigurationof the H3000. With a standardH3000, each delay line has up to 700 milliseconds of delay. With an Eventide HS322 board, the maximum delay is 11000milliseconds (11 seconds)per delay module. When an Eventide HS395 board is installed, up to 32000milhiseconds (32 seconds) o f delayis available permodule.
  • Page 117 These parameters control the frequency of LFO 1 and 2. This works in conjunctionwith the LFO Beat per Minute control. Whentempo trackingof theLFOs is desired, s etthis parameter tozero. LFO 1 BPM 0/24 to 96/24 beats #385 LFO 2 BPM 0/24 to 96/24 beats Similar to the Delay BPM control, this parameterallows the masterBPM tempo to control the frequencyof the LFOs.

  • Page 118: Mixer Parameters

    The Decay Time controlshow fast the envelopeand ducker outputsrespondto decreasesin signal level. Often it is desirable to have a fast attack time and a slow decay time (especially in somethinglike a compressor). Threshold 1 0 to -40 dB Threshold 0to-40dB The Threshold determinesthe level at which the ducker begins reducing its level.
  • Page 119 To invert the phaseon a mixer input, use negative settingsinstead of positive settings. A setting of -100% will give a full "on" signal that has its phaseinverted. A settingof-50% will cut the signal by half and also invert the phase. Modulation Scalers The modulationscalers are useful in controlling the gain of a particular modulationsignal.
  • Page 120 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 noteof when creating a patch is the differencebetweenaudio inputs and modulationinputs. Generally, the modulation inputs areusedtochange someparameter of theeffect,suchasa filterfrequency or delaytime.
  • Page 121 amp mod 1 Amplitude modulator 1 output. amp mod 2 Amplitude modulator 2 output. delay 1 Delay line 1 audio output. delay 2 Delay line 2 audio output. Filter 1 audio output. filter 1 filter 2 Filter 2 audio output. ducker 1 Ducker 1 modulation output.
  • Page 122 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 “patchcords”canbeused toconnect t heprocessing modules shownbelowin anydesired configuration. T he mainbuilding blocksarea pairof sweepable, filtered delays,a pairof detuning pitchshifters, o nelow-frequency o scillator, o neenvelope detector,and two amplitudemodulators, Block Diagram...
  • Page 125 30 to 200 beats/min Modulation The BPM control w orksin conjunction withthe BPM controls ofdelay1 and2 , theLFO, andthetwo detuners, Essentially, this parameter determinesthe time value of a beat(quarter note). If the BPM is set to 60, one quarternote will equal second.
  • Page 126 The two modules each have a variable amountofdelay, dependingon the hardwareconfigurationof the H3000. With a standardH3000, each delay line has up to 650 milliseconds of delay. With an Eventide HS322 board, the maximum delay is 11000 milliseconds ( 11 seconds) p erdelaymodule.Whenan EventideHS395boardis installed, u pto 32000milliseconds (32 seconds) ofdelay is available per module.

  • Page 127: Low Frequency Oscillator

    Highcut 1 0 to 20000 Hz Highcut 2 0 to 20000 Hz The highcut parameterscontrol the amountof high frequencyrolloff appliedto the delay outputs.The setting is in Hertz, and represents thefrequency atwhichthe audiois attenuated b y 3 dB. A settingof 20000will give a full bandwidth signal,with no attenuationof high frequencies.Lower settingswill take the edge off of the delay, giving a much warmer, analog-style sound.
  • Page 128 LLFO Threshold 0 to-40 dB The LFO thresholdcontrols the level at which the oscillator is triggered.This parameteronly has effect when the oscillator is set to an audio-trigger waveform. LFO Mod 0 to 300.0 Hertz For continuousLFO waveforms, the oscillator input will modulatethe frequencyof the LFO. This parametercontrols how much the frequencywill change for a full level input to the LFO.

  • Page 129: Level Parameters

    AM 1 Offset 200 to 200 per cent AM 2 Offset -200 to 200 per cent The Amp Mod Offset controlshow much gain or attenuationthe signal will have when modulationinput 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 loopsand muchmore.

  • Page 130: How To Patch

    Patching Parameters Prg Load Speed slow or fast The program loadspeed control i s definitely considered a nexpert parameter. This parameter affectsthespeedatwhich presetsare loaded. When set to slow, the loading speedwill be noticeably slower than when the load speedis set to fast. The drawback tothefastloadmode1sthat thecontents o f delaylinesandother internal r egisters arenot"cleared”...
  • Page 131 aml in Amplitude modulator 1 audio input. aml mod Amplitude modulator 1 modulation input. am2 in Amplitude modulator 2 audio input. am2 mod Amplitude modulator 2 modulation input. dly 1 in Delay 1 audio input. dlyl mod Delay 1 modulation input. diyl ctmd Delay 1 highcut modulation input, dly 2 in...

  • Page 132: User Program Worksheets

    User Program Worksheets This section containsworksheetsfor programmingthe H3000 algorithms. These are included to make it easier for you to createand documentyour own customsoundeffects. We recommendthatyou use theseto keep a permanentrecord of your valuable presets. The faithful use of thesesheetswill insurethat your creative inspirationswill never be lost and will provide a way of recreatingyour soundsin the case of any bizarre mishaps with your H3000.
  • Page 133 ProgrammingWorksheets For Programming Worksheets, visit this link on Eventide’s Web Site: http://www.eventide.com/oldies/progform/index.html...

  • Page 135: Quick Reference: H3000

    The columnonthe farrightindicates whichH3000 model t heprogram is availablein. You mayupgrade anyH3000to include the programslisted here (except for H3500-specific presets). See the Eventide documenttitled "Harmonizer brand selection guide" for moredetails. For additional i nformation andspecifications, askyour Eventidedealer forourcolor brochures o r contact us directlyat(201) 641-1200.
  • Page 136 NAME ALGORITHM DESCRIPTION UNIT 12BYRD-STRING MULTI-SHIFT Nice, 12-stringy program. Uses lower octave D/SX, D/SE, doubling. W atchclipping. 12 STRING & 5th MULTI-SHIFT Similar to 12BYRD STRING with added 5th D/SX, D/SE, - above. 3+ OF ME DUAL DIGIPLEX Doubling delays. D/SX, D/SE, 60sSITAR FLANGE SWEPT REVERB...
  • Page 137 NAME ALGORITHM DESCRIPTION UNIT DUAL GTR DELAYS DUAL DIGIPLEX Two long delays, for really beeg guitar /SX, D/SE, 35 sound. FATASSCAN-B LAYERED SHIFT Another thickenizer. Has soft knobs for easy D/SX, D/SE, 35 control. FLESH 4 FANTASY SWEPT COMBS Flangy,sweepy, d oublything, D/SX, D/SE, 35 FLOAT! Long, thick,swingin' d elays.
  • Page 138 Nice ambience,built of shortdelays. D/SX, D/SE, 35 SEAS OF CHEESE LONG DIGIPLEX Long, long delay . D/SX, D/SE, 35 SLUDGWIK Another nice,Eventide,fat chorus, SWEPT COMBS D/SX, D/SE, 35 SON OF KAMIKAZE MOD FACTORY Delays that dive after a phrasestops and D/SX, D/SE, 35 inputdropsbelowthreshold.
  • Page 139 DUAL H910s DUAL SHIFT This program is designed to function like two D/SX, D/SE, 35 Eventide H910 Harmonizer effects processors.The glitching you hear is intentional.This is a true dual program, where both left and right channels are processedseparately.
  • Page 140 NAME ALGORITHM DESCRIPTION UNIT This sounds like a reverb, u ntiltheinput EXPLODING 'VERB REVERB D/SX, D/SE, 35 FACTORY level goes above the gate threshold. Once triggered,the reverb soundgrows explosively. FAT SLAP A slapdelaywithan ambient s ound. ULTRA-TAP D/SX, D/SE, 35 FLANGE &...
  • Page 141 NAME ALGORITHM DESCRIPTION UNIT MIDI PEDALSWEEP SWEPT REVERB The MIDI footpedal controller w ill D/SX, D/SE, 35 manually sweep the delays in this programto generatea flange-like sound. The Modulation Wheel controlsmodulation of thedelays. MIDIPLEX LONG DIGIPLEX Connect a MIDI drummachine or sequencer D/SX, D/SE, 35 to this programand the delay will automatically be in time.
  • Page 142 NAME ALGORITHM DESCRIPTION UNIT SEAPMICROPITCH DUAL SHIFT The leftchannel i s processed witha slap D/SX, D/SE, 35 delay. The right channelis processedwith a micro-shift. D/SX,D/SE,35 SMALL ROOM A small-room reverb. REVERB FACTORY SPACE FLANGE SWEPT REVERB This programis a cross betweena digital D/SX, D/SE, 35 delay, a reverb and a flanger.
  • Page 143 NAME ALGORITHM DESCRIPTION UNIT USEFUL VERB REVERB Bright and generic, medium-largeverb. D/SX, D/SE, 35 FACTORY Quiteroomy:. MODULATOR-VERB MULTI-SHIFT Unique ring-modulaty, yet reverb-like effect. D/SX, D/SE, 35 OCTAVE ECHOES MULTI-SHIFT Nice, subtle doubling with octave thrown D/SX, D/SE, 35 into a delay. PanPitchDly Verb MULTI-SHIFT Shifted ambience,with a fourth above and a...
  • Page 144 MOD FACTORY Cave-like delays way off the left speaker. D/SE, H3500 3D DUAL DUCK DLY MOD FACTORY Another Eventide first - 3D Ducking taps. D/SE, H3500 A manual-close d elaymanipulation w / pan. 3D HAAS PAN MOD FACTORY D/SE, H3500...
  • Page 145 NAME ALGORITHM DESCRIPTION UNIT AVANT-GARDE REVERSE SHIFT Producesa unique,reverse pitch shifted B+, B/LT effect:(pitch) controls amount o f pitchshift, (length) controls reverse splice length, (mix) wet/dry effectmix. BACKWARDS REVERSE SHIFT Tums the inputaround in one-secondchunks: B+ B/LT (length)controls lengthof reversed segments,(feedback) feedsback reversed output,(pitch) sets pitch of reversedsignal, (mix) wet/dry effect mix.
  • Page 146 NAME ALGORITHM DESCRIPTION UNIT DRAGWAY PATCH FACTORY Use this to createthosecliché'd racecourse B+ B/LT [9%Y ads:(pitch)controls pitchof voice,(delay) controls amount of delay in echo, (echo) controls amount o f echoin output m ix, (feedback) controls amountof feedback. This effectproduces a fadetoa dream-like FADE TO DREAM LAYERED SHIFT...
  • Page 147 NAME ALGORITHM DESCRIPTION UNIT MANY PITCHES Usethiseffecttoproduce a cacophony o f SWEPT COMBS B+, B/LT different p itchedvoices: (freq)lowering this slows the pitch modulation,(amount)this will increasethe pitch variation, (mix) wet/dry effect mix. MARTIANS LAYERED SHIFT Theplanetis surrounded! Surrender, B+ BT earthlings!: (pitch) makes the voice higher in pitch.
  • Page 148 DESCRIPTION NAME ALGORITHM UNIT SHIMMERISH SWEPT REVERB This reverb startsout discrete and ends with B+, B/LT a smoothtail: (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. SIMPLE DELAY LONG DIGIPLEX Here is a basic delay, with control over...
  • Page 149 NAME ALGORITHM DESCRIPTION UNIT STUTTER DUAL STUTTER This programallows two different B+, B/LT STUTTER speeds tobesetup andtriggered: (stutterl)triggers aSTUTTER using'speed 1'; (speed 1) controls the speedof STUTTER 1, ditto for STUTTER STUTTER STUTTER RANDOM This programgenerates various random B+, B/LT stutters:(stut) triggers a random STUTTER,;...
  • Page 150 NAME ALGORITHM DESCRIPTION UNIT TIME WARP DUAL SHIFT Speedsup and slows down whatever goes in. B/LT Try counting to ten while listening to the output:(speed) controls rateof time warp, (amount) controlsamount of delay variation, (pitch) controls pitch of output, (feedback) use this to generatewarped echoes.
  • Page 151 ALGORITHM NAME DESCRIPTION UNIT ATLANTIS REVERSE SHIFT Backwards, swelling delays. D/SX, D/SE, 35 DENSE ROOM BASS SPACE Bathroomwith lots of rugs and towels. D/SE, H3500 REVERB BriteBrassPlate Twangy plate, good on dark brass. D/SE, H3500 FACTORY DAVES SPIN MOD FACTORY An improved spinning-speaker-cabinet D/SX, D/SE, 35 simulator.
  • Page 152 NAME ALGORITHM DESCRIPTION UNIT GREAT DRUMSPACE REVERB Another small, rehearsalroom. D/SE, H3500 FACTORY SSEC HANG VERB REVERB Gated verb with 5-secondhang time. D/SE, H3500 FACTORY HUGE DENSE HALL DENSE ROOM D/SE, H3500 Dense, arena-like verb. HUGE SYNTHSPACE DENSE ROOM Self-descriptive. D/SE, H3500 ACID REIGN REVERSE...
  • Page 153 NAME ALGORITHM UNIT DESCRIPTION LASER ECHO PATCH FACTORY Usethistodestroy thoseenemyinvaders. B+, B/LT This onesounds like a sci-fi movieora video game noise: (fire) triggers the laser blast, (sweep)adjusts thepitchsweepof thesound, (feedback) controlsthe decay of the sound, (tune) controls the basic pitch. PLUCK PATCH FACTORY This effectis a convincing simulation of a...
  • Page 154 NAME ALGORITHM DESCRIPTION UNIT SPACE FLANGE SWEPT REVERB Customized presetwith flangy, panning D/SX, D/SE, 35 delays. STEREO W FLANGE SWEPT COMBS Widens your stereoimage with flangy things. D/SE, H3500 HasLFO tiedtowidth. SWEPT PANNER SWEPT COMBS D/SE, H3500 STEREO SHIFT TITE STEREODLY Real, tite-locked delays.
  • Page 155 NAME ALGORITHM DESCRIPTION UNIT DUCK VERB REVERB Reverb will ‘duck’ slightly while a signal is H3500 FACTORY present. EMPTY WATER REVERB Sounds like the inside of one of thosewater H3500 TANKS FACTORY towers. FALLING FLANGE Use'P DELAY" tochange repeat interval. PATCH FACTORY H3500 FAT FLAM...
  • Page 156 NAME ALGORITHM DESCRIPTION UNIT LONG ROOM DENSE ROOM Long Verb. H3500 LO PROCESSOR Addslowpercussive ambience to anything. SWEPT REVERB H3500 MIDI GATE VERB REVERB Usekeyboard controller t ochange H3500 parameters. Sustainpedal1stiedto gateand FACTORY ModWheelis tiedtodecay. MIDI SWEPT VERB Size is tiedtopitchwheeland thesweepis SWEPT REVERB H3500 tiedtomodulation w heel.
  • Page 157 NAME ALGORITHM DESCRIPTION UNIT STEREO TOM DLAY MULTI-SHIFT Delays thatwill follow the panning of the H3500 inputs. SWEEP 8 BAND DELAY Pitched and timed delays. H3500 THICK RICK SWEPT REVERB Thickening, sweeping ambience. H3500 TILED HAT ROOM REVERB This is a verylargebathroom. H3500 FACTORY TIimBrAl bRooM...
  • Page 158 DUAL H910 MICRO MULTI-SHIFT This program1sdesigned to function like two D/SE, H3500 Eventide H910 Harmonizer effects processors. The glitching you hear is intentional. This is a true dual program, where both left and right channels are processedseparately. ENVELOPE...
  • Page 159 NAME ALGORITHM DESCRIPTION UNIT MAGIC AIR MULTI-SHIFT This hastwo upward micro-shifts a ndtwo D/SE, H3500 delaysin a tight,ambient f ormation. Useto liven and slightly raise flat vocals or to generally thickensources. MANY REFLECTIONS MULTI-SHIFT Numbers o f micro-pitched e choesslowly D/SE, H3500 decaying upwards.
  • Page 160 NAME ALGORITHM DESCRIPTION UNIT TREMOLO DELAY MULTI-SHIFT A long delay whose pitch warbles, creating a D/SE, H3500 thickatmospheric effect. Useonguitar soundeffects. TWO THICKENERS D/SE, H3500 MULTI-SHIFT Two independent e ffects, each madeup of a delay with pitch shift, and a discrete delay. ULTRA-THICK MULTI-SHIFT D/SE, H3500...
  • Page 161 NAME ALGORITHM UNIT DESCRIPTION SOFT SHORT ECHO DENSE ROOM A very smooth,diffuse echo. D/SE, H3500 SPACE ECHO PATCH FACTORY Simulates a very populartape delay from the D/SE, H3500 70's. Even adds tone controls and tape warble for thatthick, analog sound. SUBTLE Two subtle, s weeping delays.
  • Page 162 NAME ALGORITHM DESCRIPTION UNIT EMPTY ROOM Medium reverbwithslightchorus. Sounds SWEPT REVERB D/SE, H3500 niceonregular instruments. MEDIUM SPACE SWEPT REVERB Another mediumreverb with slight chorus. D/SE, H3500 This hasa morenatural s ound andthechorus is very slight. NEW HOUSE SWEPT COMBS Use this to get thatmetallic soundof an D/SE, H3500 empty, r eflective room.
  • Page 163 NAME ALGORITHM DESCRIPTION UNIT DARK ROOM DENSE ROOM Yes, another dark reverb. Sounds like the D/SE, H3500 inside of a big, petroleumtank. DISCRETE-VERB SWEPT COMBS A sparse,reverb effect. D/SE, H3500 NORTHWEST HALL DENSE ROOM Very similarto ConcertHall exceptthatthe D/SE, H3500 reverb i1s somewhatmore discrete.
  • Page 164 NAME ALGORITHM DESCRIPTION UNIT REVERB RAMP SWEPT REVERB A triggerable,sweeping reverb. It sweeps up D/SE, H3500 the first tme 1tis triggered and toggles from thenon. SHIMMERISH SWEPT REVERB A recirculatingdelay effect that fades into a D/SE, H3500 smoothreverb. TONAL ROOM SWEPT REVERB With pitched inputs, this reverb will actually D/SE, H3500...
  • Page 165 NAME ALGORITHM DESCRIPTION UNIT HAMMER-ON 5STH DUAL DIGIPLEX Similar to above but different intervals. D/SE, H3500 HARMO-CHORUS MULTI-SHIFT A pitchshifter andchorus combined. D/SE, H3500 INSIX 6/8timeis impliedin thispreset w hichadds MULTI-SHIFT D/SE, H3500 a fourth down,a minorthirdup, anda minor sixthup. JUST 3RD &...
  • Page 166 NAME ALGORITHM DESCRIPTION UNIT ANTI-AMBIENCE REVERSE SHIFT This 1sa reverb-like soundcreated from D/SE, H3500 REVERSE SHIFT. Sounds great on guitar, AUTOPANNER SWEPT COMBS Producesautomaticstereo (left<->right) D/SE, H3500 panning. AVANTE-GARDE REVERSE SHIFT A REVERSE SHIFT effect that generates D/SE, H3500 descending,chromaticlines. REVERSE SHIFT Turnstheinputaround in one-second c hunks.
  • Page 167 NAME ALGORITHM DESCRIPTION UNIT LIQUID REVERB BAND DELAY A reverb-like programwith band delays D/SE, H3500 whosefilterssweep downward with increasing delay length. LOWPASS FILTERS PATCH FACTORY Two lowpass filters connectedin series D/SE, H3500 process theaudio. UsecutoffI and2 to control the rolloff frequencies. Use Q factor 1 and 2 to control the resonanceof t he filters.
  • Page 168 NAME ALGORITHM DESCRIPTION UNIT SLAP+WAH+MICRO PATCH FACTORY A slap delay, a sweeping wah-wah, and a D/SE, H3500 microshift all from one program. SPACE CRICKETS BAND DELAY Circulating, up-sweepingband delays. D/SE, H3500 STUTTER STUTTER Use this for thatpopularSTUTTER sound. D/SE, H3500 STUTTER RANDOM STUTTER...
  • Page 169 NAME ALGORITHM DESCRIPTION UNIT GUITAR-ESQUE STRING MODELER Connect MIDI up and you have a mellow, D/SE, H3500 guitar sound. The input signal will also affect the soundout. HVYMETAL CELLO STRING MODELER The string 1sbriefly bowed and left to ring. D/SE, H3500 The harderyou hit the key, the longer the bowing.
  • Page 170 NAME ALGORITHM DESCRIPTION UNIT MIDI30ON2 DUAL DIGIPLEX This presetwill sync up its delay times to a D/SE, H3500 MIDI drummachineor sequencer.The delaysarein thefamiliar3 on 2 pattern. MIDI PEDALSWEEP The MIDI foot-pedal controller w ill SWEPT REVERB D/SE, H3500 manually sweepthe delays in this programto generatea flange-like sound.
  • Page 171 NAME ALGORITHM DESCRIPTION UNIT BIG ROOM CHORUS SWEPT COMBS A BIG, chorused-room sound. D/SX, D/SE, 35 BIG GROUND REVERSE SHIFT A killer, atonal effect. D/SX, D/SE, 35 BIG LIGHT ECHO REVERSE A psychedelic, R EVERSE SHIFT effect. SHIFT D/SX, D/SE, 35 You may seethe light.
  • Page 172 NAME ALGORITHM DESCRIPTION UNIT OCTAVE DISPLACE LAYERED SHIFT Delayed octaves, up and down. D/SX, D/SE, 35 OCTAVE FRENZY LAYERED SHIFT Octaveswithfeedback. D/SX, D/SE, 35 ~J 43 OUTDOOR ARENA REVERSE SHIFT Big stadium,backwards echoes. D/SX, D/SE, 35 PARADITTLE ULTRA-TAP Diffused machine-gunechoes. D/SX, D/SE, 35 REVERB-a-BOUND Thick reverb witha longattacktime.
  • Page 173 NAME ALGORITHM DESCRIPTION UNIT HOUSE VERB SWEPT COMBS Sounds like the echo in a new house without H3500 furniture. JETFLY PATCH FACTORY Convincing stereo, jet plane. LASER HIT PATCH FACTORY "Captain, I can't make the shields last much longer!” MassiveString Tap ULTRA-TAP Delays set mondo-wide and big for strings.
  • Page 174 NAME ALGORITHM DESCRIPTION UNIT DIRECT BOX PATCH FACTORY Very clean, direct box. See manual for H3500 changing gain. Avoids analogtodigital convertersunless ‘effect’ 1sturnedup. At unity gain, S/N 1swell over 100dB on Channel 1. MEAN OCTAVES PATCH FACTORY Distortion with octave pitch shift. H3500 PIGNOSY PATCH FACTORY...
  • Page 175 NAME ALGORITHM DESCRIPTION UNIT band compress MOD FACTORY A fixed 21 dual-band compressor. All Units band flip MOD FACTORY This patchsplits theinput signalinto two All Units bands, a highband anda low band. The output c ontinuously c rossfades b etween these twobands.
  • Page 176 NAME ALGORITHM DESCRIPTION UNIT dualduckdelay MOD FACTORY Two independent d elay loops with gain All Units ducking. Use delay controlsto change delay and feedback. Use envelopecontrols to adjustgain ducking. dual panners Two independent autopanners. MOD FACTORY All Units dual tremolo MOD FACTORY Two tremolos,with delays.
  • Page 177 NAME ALGORITHM UNIT DESCRIPTION MOD FACTORY ethertrem The etherealreverb feeding a tremolo. All Units exponential MOD FACTORY Four chorused,delay tapswith exponential All Units spacing. Use BPM to set the amountof delay. filter sweep MOD FACTORY A funky, triggered, filter sweep. The input All Units signaltriggers thesweep.To setthetrigger level,adjust LFO 1threshold.
  • Page 178 NAME ALGORITHM DESCRIPTION UNIT A frequency-dependent gatethatletsthehigh MOD FACTORY hi->efx lo->noefx All Units notesinto a chorus delay effect. Use cutoffl andcutoff2toadjust thecrossover p oint. A frequency-dependent high->1ft low->rt MOD FACTORY gatethatsteers the All Units high notesto the left channeland the low notesto the right channel.
  • Page 179 ALGORITHM NAME DESCRIPTION UNIT panner MOD FACTORY Autopan using a frequency-modulated All Units oscillator. pan squarely MOD FACTORY Autopan with a square-wave oscillator. All Units pmg-pong MOD FACTORY All Units A ping-pong delay with controllablehigh cut. ping-pong duck MOD FACTORY Like above, with ducking on the delays.
  • Page 180 NAME ALGORITHM DESCRIPTION UNIT strangeloop MOD FACTORY Output switches between twodifferent d elay All Units loops, g iving aninteresting, rhythmic effect. MOD FACTORY swell A gain swell triggeredby the audio input. All Units Usethreshltoadjustthetriggerthreshold. MOD FACTORY swell reverb The etherealreverb modulatedby a All Units triggered,amplitudeswell.
  • Page 181 NAME ALGORITHM DESCRIPTION UNIT x-coupled ducks MOD FACTORY Two ducked delayswith cross-coupled All Units feedback. MULTI DOUBLER SWEPT COMBS Flangy thickener. Try on background vox. D/SE, H3500 MUTRUM PATCHFACTORY Garbly, alien sound. D/SE, H3500 HIGH SWELLS REVERSE SHIFT High shimmerfor synth pads. D/SE, H3500 NewBrightChambr DENSE ROOM...
  • Page 182 ALGORITHM DESCRIPTION NAME UNIT PATCH FACTORY Poppy,delayed effect. SNARE SLAP D/SE, H3500 Droningsounds in thebackground. STRING MODLER#9 STRING MODELER D/SE, H3500 TALKIN PATCH FACTORY Sounds like bums sayin 'walla, walla.' D/SE, H3500 THUNDER TOMS PATCH FACTORY D/SE, H3500 One-of-a-kind, falling ambience for toms. H3000 Presets...

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Ultra-harmonizer h3000-sUltra-harmonizer h3000-seUltra-harmonizer h3000-bUltra-harmonizer 3000-d/sxUltra-harmonizer h3000-d/seUltra-harmonizer h3000-b/lt ... Show all

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