Pitch¶
Multi-Voice Intelligent Pitch Shifting from the company that invented it! All the way from the original H910, to the Quadravox 4-voice harmonizer, Octaver, and PitchFlex effects. Also included is Harpeggiator which creates arpeggios with selectable rhythm patterns and fuzz effects. And, of course, MicroPitch and Crystals — go-to sounds for inspiration.
Crystals¶
Crystals is a classic Eventide effect combining twin reverse pitch shifters, delays, feedback, and reverb. It can create out-of-this-world climbing and cascading pitched delays, unique sounding reverbs, and granular effects for helping instruments stand out in a mix.
Mix: Wet/dry mixer, 100% is all wet signal.
Pitch A/Pitch B Mix: Controls the ratio of the level of Pitch A to Pitch B.
Pitch Shift A: Controls the amount of pitch shift for A in cents (1 cent = 1/100th of a semitone).
Pitch Shift B: Controls the amount of pitch shift for B in cents (1 cent = 1/100th of a semitone).
Reverse Delay Buffer A: Controls the length of the reverse time buffer for A. With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value.
Reverse Delay Buffer B: Controls the length of the reverse time buffer for B. With Tempo OFF, delay is displayed in ms. With Tempo ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value.
Reverb Mix Level: Sets the Wet/dry mix of the reverb level, where 100 is an all wet signal. Note that this mix level is part of the wet signal path, so the global Mix control will still affect the amount of wet signal being heard overall.
Reverb Decay Rate: Selects the Reverb Decay rate.
Feedback A: Controls level of Feedback A.
Feedback B: Controls level of Feedback B.
- Performance Parameters
FLEX: Shifts both voices up one octave.
Diatonic¶
Diatonic pitch shifters track the notes that you’re playing and shift the pitch by the selected harmonic interval based on the Key and Scale that you’ve selected.
Diatonic Shifter features twin independently-controlled pitch changers (A and B) with independent delays and feedback. Diatonic tracks the notes that you’re playing and automatically adjusts the amount of pitch shift so that the resultant note is in key. Use the Pitch A/B control knobs to set each pitch interval. Use the Control Knobs to select the key, scale and interval.
Note
Due to the limitations of Diatonic Pitch Shifting, the pitch tracking Algorithm is monophonic and works best on single, isolated notes, and octaves.
Mix: Wet/dry mixer, 100% is all wet signal.
Pitch A/Pitch B Mix: Controls the ratio of the level of Pitch A to Pitch B. Note: The A/B mix is set before the feedback delays so that feedback can continue on A or B and not be affected by new audio when the Pitch Mix control is turned completely to the opposite channel. This allows you to create a mini ‘looper’ effect.
Pitch Shift A: Selects the harmonic interval (pitch shift) for Pitch A.
Pitch Shift B: Selects the harmonic interval (pitch shift) for Pitch B.
Delay A: Controls the amount of time delay of the A pitch shifted output. With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value.
Delay B: Controls the amount of time delay of the B pitch shifted output. With Tempo OFF, delay is displayed in ms. With Tempo ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value.
Key: Selects the key.
Scale: Selects the scale. The supported scales are:
Major
Minor
Dorian
Phrygian
Lydian
Mixolydian
Locrian
Harmonic Minor
Melodic Minor
Whole Tone
Enigmatic
Neapolitan
Hungarian
Feedback A: Controls level of voice A Feedback. The feedback delay length is the length of either Delay A or Delay B, whichever is longer, to make sure both voices fade out simultaneously.
Feedback B: Controls level of voice B Feedback. The feedback delay length is the length of either Delay A or Delay B, whichever is longer, to make sure both voices fade out simultaneously.
Quantization - Quantizes the notes that are not in the selected key scale to fit within the selected key and scale.
- Performance Parameters
LEARN: Press-and-hold the Learn switch while playing a note and the H90 will set the key to that note.
H910 H949¶
This effect emulates the sound and functionality of Eventide’s legendary H910 and H949 Harmonizer™ effects units. The H910 Harmonizer was the world’s first real-time pro-audio pitch changer and introduced the word “glitching” to the pro-audio vocabulary. The H949 was the world’s first de-glitched Harmonizer. Unlike the Diatonic pitch shifters, pitch shifting is in the feedback loop allowing for arpeggiated repeats.
Note
For the purists in our audience, you may remember that the H910 and H949 were mono in, stereo out devices. In other words, they featured a single pitch shifter with independently adjusted delays. To best emulate these vintage boxes, we recommend that you set either Pitch A or Pitch B to unison (1.00) and use that output for feedback without pitch change.
Mix: Wet/dry mixer, 100% is all wet signal.
Pitch A/Pitch B Mix: Controls the ratio of the level of Pitch A to Pitch B.
Pitch Shift Up A: Controls the amount of pitch shift for voice A expressed as a ratio.
Pitch Shift Down B: Controls the amount of pitch shift for voice B expressed as a ratio.
Delay A: Controls the amount of time delay of the A pitch-shifted output. With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value.
Delay B: Controls the amount of time delay of the B pitch-shifted output. With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value.
Splice Type: Selects the type of Harmonizer emulated:
H910: The H910 was just a tiny bit unstable. And it showed. The H910’s iconic, flickering display was the first ‘digital readout’ to appear in many studios. And that flickering readout belied a secret – the H910 was inherently ‘jittery’. The H910’s master clock wasn’t crystal-based but, instead, it was a tuned LC (inductor/capacitor) oscillator. The result is that the system was not locked to a specific frequency and the entire system’s clocking would drift slightly, slowly and unpredictably. In fact, all of the oscillators in the H910 are of the ‘free-running’ sort and this randomness adds to the sound (and the fun). This Algorithm’s pitch change splicing method is the same as the hardware’s – the glitch is back!
H949-1: Algorithm 1 may cause glitches with increasing frequency as the pitch ratio deviates from 1:1, and is generally more appropriate for smaller pitch ratios.
H949-2: Algorithm 2 uses an intelligent splicing Algorithm that greatly reduces glitching, but will add varying degrees of coloration to the signal, and is more suitable for extreme pitch ratios.
Modern: The Modern pitch shifting Algorithm takes advantage of its powerful DSP to further reduce glitching.
Each of these Algorithms has a distinct quality and, when combined with various amounts of delay and feedback, offers a broad pallet of pitch-shifting effects.
Pitch Coarse/Fine Control: Selects the type of pitch ratio control for Pitch A and Pitch B parameters:
Normal allows continuous control as a pitch ratio.
Micro allows for fine adjustments around Unison.
Chromatic allows you to select intervals equal to the 12 note per octave scale.
Pitch A Feedback: Controls the amount of feedback for Delay A.
Pitch B Feedback: Controls the amount of feedback for Delay B.
- Performance Parameters
REPEAT: Press-and-hold for infinite repeat.
HarModulator¶
HarModulator combines twin chromatic pitch shifters with modulation to deliver an extremely wide range of effects from the subtle to the insane. Chromatic pitch shifters allow you to set the pitch ratio of each of the voices in semi-tone intervals (12 steps per octave). HarModulator features a six octave range (three up, three down). To get a sense of how to use the modulation function, it’s best to start simply by setting both Pitch A and Pitch B to UNISON, the delays to minimum, and feedback to 0. Now use the Mod Depth control to set the amount of pitch modulation and the Mod Speed control to adjust the modulation rate. Turn selecting different modulation shapes and sources. Note that you can select ENVELOPE as a source and use the dynamics of your playing to drive the modulation.
Mix: Wet/dry mixer, 100% is all wet signal.
Pitch A/Pitch B Mix: Controls the ratio of the level of Pitch A to Pitch B.
Pitch Shift A: Selects the pitch shift interval in semitone increments from down three octaves to up three octaves.
Pitch Shift B: Selects the pitch shift interval in semitone increments from down three octaves to up three octaves.
Delay A: Controls the amount of time delay of the A pitch shifted output. With Tempo OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value.
Delay B: Controls the amount of time delay of the B pitch shifted output. With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value.
Modulation Depth: Controls the amount (or depth) of pitch modulation displayed in cents over a four octave range (two octaves down, two octaves up). Fine control for micro-pitch modulation is available and displayed in cents, ranging from -30 to +30 cents. When the modulation is a positive value the two voices will modulate in sync with each other; when the value is negative they will modulate out of sync.
Modulation Rate: Controls the modulation rate. Note: If Enveloep is selected as the Mod Shape, then modulation is driven by the amplitude of the audio input and Modulation Rate becomes a Sensitivity control.
Modulation Shape: Selects the modulation shape. Select Envelop and your playing will drive the pitch modulation.
Feedback: Controls the amount of feedback for Delays A and B.
- Performance Parameters
FLEX: Shifts both voices up one octave.
HarPeggiator¶
HarPeggiator creates dual 16-step arpeggios that combine three elements:
Dual 16-step pitch-shift sequencer
Dual 16-step rhythm sequencer
Dual 16-step effect sequencer
HarPeggiator lets you choose from a list of pre-programmed sequences for pitch, rhythm and effect. Using the many possible combinations gives you quite a bit of creative control. That writ, it’s important to understand the underlying concepts or you’re likely to spend quite some time scratching your head.
First off, we suggest that you experiment with only one voice (e.g. A) and the pitch sequence only. To do so, turn OFF the rhythm and effect controls. This is important because, by definition, for many rhythms not every step in the sequence is played. For example, you could select a rhythm that divides the 16 steps into four bars of quarter notes and only sounds the first step (note) of each bar. As a result, although the pitch sequence is 16 steps long, only four notes will sound. Also, use the Length control to set an appropriate length for each step so that you can clearly hear the pitch at each step.
The Pitch Sequence controls select one of 27 pitch sequences for A/B. These are selectable presets numbered from 01 to 26 plus a random sequence. Set to minimum to turn off the pitch effect.
For the majority of pitch sequences each step is a fixed pitch. However, the H90 has the ability to glide the pitch within any step. This feature is used in several of the sequences. The last sequence is a random sequence of pitches.
When selecting pitch sequences, it is best to first turn OFF both Rhythm and Effects sequences so that the pitch sequence is unaffected by these parameters. As always, your ears are the best judge of what works.
The first several pitch sequences are fairly straightforward. Here’s a general description of each of these sequences:
All steps are one octave up.
All steps are one octave down.
All steps are a fifth up.
All steps are a fourth down.
Unison and one octave down.
One octave down, unison, one octave up, two octaves up.
Two octaves down, one octave down, unison, one octave up.
One octave down, unison, one octave up, 2 octaves up.
Unison, one octave up, unison, one octave up.
Unison, one octave up, unison, one octave up, etc.
Unison and fifth up.
One octave down climbing to unison.
Unison, fourth down, one octave down, two octaves down, unison, one octave up.
Starts at two octaves down, swoops up to unison and at the 13th step jumps up one octave and ends at unison.
Mostly up one octave with a short swoop to unison in the middle, back to an octave up and ending by swooping to unison.
Starts at unison, swoops down two octaves, makes a couple of jumps up one octave and ends on unison.
Starts at unison, swoops down one octave, jumps back to unison, brief jump up one octave, brief jump to up a fifth and ends on unison.
Four quick jumps up one fifth, swooping back down to unison.
Swoops from unison up one octave and does it twice.
Swoops from up one octave down to unison and does it twice.
Starts at unison steps up one octave and steps back down to unison.
Staggers its way from unison to up one octave.
Similar to 22.
Swoops up from unison to one octave up and does it four times.
Jumps between unison and octaves and fifths and fourths up and down.
Similar to 25.
For those who find the above description less than satisfying the following tables may help. In these tables, the 26 sequences are labeled at the column heads and, for each sequence, the 16 steps are listed vertically. Pitch sequences marked with an asterisk glide the pitch within a step in the sequence and an arrow indicates the step in the sequence that glides and the direction of the glide.
Intervals are indicated as follows:
1oct = one octave
2oct = two octaves
M2 = major second
m2 = minor second
M3 = major third
m3 = minor third
P4 = perfect fourth
d5 = diminished fifth
P5 = perfect fifth
M6 = major sixth
m6 = minor sixth
M7 = major seventh
m7 = minor seventh.
- Pitch Sequences 1 - 7
1 | 2 | 3 | 4 | 5 | 6 | 7 | |
1 | +1oct | -1oct | +P5 | -P4 | unison | -1oct | -2oct |
2 | +1oct | -1oct | +P5 | -P4 | unison | -1oct | -2oct |
3 | +1oct | -1oct | +P5 | -P4 | unison | -1oct | -2oct |
4 | +1oct | -1oct | +P5 | -P4 | -1oct | -1oct | -2oct |
5 | +1oct | -1oct | +P5 | -P4 | unison | Unison | -1oct |
6 | +1oct | -1oct | +P5 | -P4 | unison | Unison | -1oct |
7 | +1oct | -1oct | +P5 | -P4 | unison | Unison | -1oct |
8 | +1oct | -1oct | +P5 | -P4 | -1oct | Unison | -1oct |
9 | +1oct | -1oct | +P5 | -P4 | unison | +1oct | unison |
10 | +1oct | -1oct | +P5 | -P4 | unison | +1oct | unison |
11 | +1oct | -1oct | +P5 | -P4 | unison | +1oct | unison |
12 | +1oct | -1oct | +P5 | -P4 | -1oct | +1oct | unison |
13 | +1oct | -1oct | +P5 | -P4 | unison | +2oct | +1oct |
14 | +1oct | -1oct | +P5 | -P4 | unison | +2oct | +1oct |
15 | +1oct | -1oct | +P5 | -P4 | unison | +2oct | +1oct |
16 | +1oct | -1oct | +P5 | -P4 | unison | +2oct | +1oct |
Pitch Sequences 8 – 14
8 | 9 | 10* | 11 | 12* | 13* | 14* | |
1 | -1oct | Unison | unison | unison | -1oct ↑ | unison ↓ | -2oct ↑ |
2 | unison | Unison | +1oct | unison | -m7 ↑ | -P4 ↓ | -1oct ↑ |
3 | +1oct | +1oct | +1oct | unison | -m6 ↑ | -1oct ↓ | -P5 ↑ |
4 | +2oct | +1oct | unison | unison | -P5 ↑ | -2oct | -m3 ↑ |
5 | -1oct | +1oct | unison ↑ | unison | -P4 ↑ | Unison | unison |
6 | unison | +1oct | +1oct | unison | -m3 ↑ | Unison | unison |
7 | +1oct | +1oct | unison | unison | -M2 ↑ | Unison | unison |
8 | +2oct | Unison | +1oct | unison | -m2 ↑ | Unison | unison |
9 | -1oct | Unison | +1oct | unison | unison | Unison | unison |
10 | unison | Unison | unison | unison | unison | Unison | unison |
11 | +1oct | +1oct | +1oct | unison | unison | Unison | unison |
12 | +2oct | +1oct | +1oct | +P5 | unison | Unison | unison |
13 | -1oct | +1oct | unison | unison | unison | +1oct | -1oct ↑ |
14 | unison | Unison | +1oct | +P5 | unison | Unison | unison |
15 | +1oct | Unison | +1oct | unison | unison | Unison | unison |
16 | +2oct | Unison | +1oct | unison | unison | Unison | unison |
Pitch Sequences 15 - 21
15* | 16* | 17* | 18* | 19 | 20 | 21 | |
1 | +1oct | unison ↓ | unison ↓ | +P5 ↓ | unison | +1oct | unison |
2 | +1oct | -m2 ↓ | -d5 ↓ | unison | +M2 | +M7 | +M2 |
3 | +1oct | -M3 ↓ | -1oct | unison | +M3 | +M6 | +m3 |
4 | +1oct | -M6 ↓ | -1oct | unison | +P4 | +P5 | +M3 |
5 | +1oct | -P4oct ↓ | unison | +P5 ↓ | +P5 | +P4 | +P4 |
6 | +1oct | -2oct | unison | unison | +M6 | +M3 | +P5 |
7 | +1oct | unison | unison | unison | +M7 | +M2 | +M6 |
8 | +1oct ↓ | unison | unison | unison | +1oct | Unison | +M7 |
9 | +1oct | +1oct | +1oct ↓ | +P5 ↓ | unison | +1oct | +1oct |
10 | +1oct | unison | +P5 ↓ | unison | +M2 | +M7 | +M7 |
11 | +1oct | unison | unison | unison | +M3 | +M6 | +M6 |
12 | +1oct | +1oct | unison | unison | +P4 | +P5 | +P5 |
13 | +1oct | unison | unison | +P5 ↓ | +P5 | +P4 | +P4 |
14 | +1oct ↓ | unison | unison | unison | +M6 | +M3 | +M3 |
15 | +m6 ↓ | unison | unison | unison | +M7 | +M2 | +m3 |
16 | +M3 ↓ | unison | unison | unison | +1oct | Unison | +M2 |
Pitch Sequences 22 - 26
22 | 23 | 24* | 25 | 26* | |
1 | unison | unison | unison ↑ | unison | -1oct |
2 | unison | unison | +P4 | -1oct | Unison |
3 | +M2 | +m3 | +P5 | unison | +P5 |
4 | unison | unison | +1oct | +1oct | +P4 |
5 | +M3 | +P4 | +m3 | unison | -1oct |
6 | unison | unison | +P4 | -P5 | +1oct |
7 | +P4 | +P4 | +P5 | unison | -P4 |
8 | unison | +d5 | +1oct | +P5 | -P5 |
9 | +P5 | +P5 | +m6 ↑ | unison | Unison |
10 | unison | unison | +P4 | -P4 | -1oct |
11 | +M6 | +P5 | +P5 | unison | Unison |
12 | unison | unison | +1oct | +P4 | +P5 |
13 | +M7 | +m7 | +m7 | unison | +P4 |
14 | unison | unison | +P4 | -m3 | Unison |
15 | +1oct | +1oct | +P5 | unison | Unison |
16 | unison | unison | +1oct | +m3 | -2oct ↑ |
Mix: Wet/dry mixer, 100% is all wet signal.
Arpeggiator A/Arpeggiator B Mix: Controls the ratio of arpeggiator A to arpeggiator B.
Pitch Sequence A: See description and table above
Pitch Sequence B: See description and table above
Rhythm A: These controls select the rhythm/groove sequence for A/B. The rhythm sequences are a set of 21 selectable presets. The pitch sequences are numbered from 01 to 20, plus and additional random rhythm. Set the control to Off to turn off the rhythm sequence. With the rhythm sequence turned Off, all sixteen steps of the sequence are played at full amplitude.
Rhythm B: See the description for Rhythm A.
Dynamics (Attack/Release Time): Sets attack and release time for the dynamics of the Rhythm and Effects. When set to minimum (-10), the audio takes the entire step length to fade in; at mid-range (0), the audio is present for the entire step duration; and at maximum (10), the audio is present for only 1/10th of the step’s duration. Note: This control has no effect when both Rhythm and Effect knobs are set to Off.
Step Length: With Tempo Sync OFF, sets the length of each of the 16 steps in ms. With Tempo Sync ON, sets the length of each step relative to the tap tempo (length of note e.g. whole, quarter, etc.).
Effect A: HarPeggiator lets you apply a sequence of filter, fuzz and/or glitch effects to each note of the 16-step sequence. The effect sequences are a set of 25 selectable presets. The effects are indicated by effect type:
Filter 1-5
Fuzz 1-5
Glitch 1-5
All
There are five filter effects, five fuzz effects and five glitch effects to choose from. Or, you can select one of four different types of random effect sequences:
Random Filters
Random Fuzz
Random Glitches
Random All - a combination of filters, fuzz, and glitches.
Off
Effect B: See the description for Effect A.
:Performance Parameters
RESTART: Restarts the sequence from the beginning.
MicroPitch¶
MicroPitch is a fine-resolution pitch shifter ideal for vocal doubling, tone fattening, and unique delays. With independent control of each pitch shifter’s shift amount and delay time, plus feedback and modulation controls, MicroPitch makes it easy to create pristine chorusing effects, deep pitch dives, haunting echoes, and more.
Mix: Relative level of the wet and dry signals.
Pitch Mix: Controls the ratio of the level of Pitch A to Pitch B.
Pitch A: Controls the amount of pitch shift up for voice A, from Unison to +50 cents.
Pitch B: Controls the amount of pitch shift down for voice B, from Unison to -50 cents.
Delay A: Controls the amount of time delay of the A pitch-shifted output. With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value.
Delay B: Controls the amount of time delay of the B pitch-shifted output. With Tempo Sync OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value.
Modulation Depth: Controls the amount (or depth) of pitch modulation around the current pitch for each voice. A value of 100 represents a bipolar full swing of the modulation from 0 cents to 2x Pitch. Lesser values scale proportionally.
Mod Source:
-Env: Increased volume decreases the Pitch modulation.
LFO: Constant LFO modulation determined by the Mod Rate parameter.
+Env: Increased volume increases the Pitch modulation.
Mod Rate: Controls the LFO rate when LFO is selected as the Mod Source. 0.1 to 10 Hz
Mod Sens: Controls the sensitivity of the envelope follower when -Env or +Env is selected as the Mod Source.
Feedback: Controls the amount of feedback for Delays A and B.
Tone: Applies filtering to voice A and voice B.
- Performance Parameters
FLEX: Doubles the pitch shift amount of both voices.
Octaver¶
Octavers traditionally use analog techniques to track the pitch of the input audio signal and synthesize a signal whose musical tone is an octave lower than the original. Octaver creates a pair of sub-harmonics, one an octave below the note that you’re playing and the other two octaves below. It also adds an Octave Fuzz generator. The sub-harmonics can be filtered and the filters modulated by the input audio level.
Note: Octaver is a parallel (dual mono) rather than stereo effect.
Mix: Wet/dry mixer, 100% is all wet signal.
Sub-Harmonic Mix: Controls mix of 1st and 2nd sub-harmonics (A and B). Note that Inputs 1 and Inputs 2 are not mixed.
Filter Center Frequency A: Controls the center frequency of the resonant filter for A.
Filter Center Frequency B: Controls the center frequency of the resonant filter for B.
Filter Resonance A: Controls filter resonance for A. Note: After adjusting the filter’s center frequency and resonance, you may want to try modulating the filter.
Filter Resonance B: Controls filter resonance for B.
Envelope Filter Shift: Octaver allows your playing to vary the center frequency of the filters. This control adjusts the degree to which the input signal’s envelop shifts the filter’s center frequency.
Envelope Sensitivity: Controls the sensitivity of the frequency sweeps to the input signal level.
Distortion: Controls the amount of distortion (fuzz).
Octave-Fuzz Mix: Controls the mix of octaves and fuzz.
PitchFlex¶
PitchFlex is designed to be used ‘live’ with either an Expression Pedal, the on board HotKnob, or the FLEX switch. Using the Heel and Toe controls you can set the pitch shift of two voices at each end of travel of the Expression Pedal. Turning these controls ‘OFF’ results in no pitch change. The other controls allow you to tailor the ‘sweep’ by controlling its speed and shape.
Mix: Wet/dry mixer, 100% is all wet signal.
Pitch A/Pitch B Mix: Controls the ratio of the level of Pitch A to Pitch B.
Set Pitch A with Exp Pedal in Heel Position: Sets pitch shift of voice A in the heel position. When ‘OFF’ is selected, the voice is muted at the heel position and the pitch is set to unison.
Set Pitch B with Exp Pedal in Heel Position: Sets pitch shift of voice B in the heel position. When ‘OFF’ is selected, the voice is muted at the heel position and the pitch is set to unison.
Heel-to-toe glissando: These parameters are for use when using an Auxiliary Switch to control the pitch change effect for voices A and B. Sets the time to move from ‘heel’ to ‘toe’. With Tempo Sync ON the maximum is ½ note.
Toe-to-heel glissando: Parameters for use when using an Auxiliary Switch to control the pitch change effect for voices A and B. The Delay A knob sets the time to move from the virtual ‘toe’ to the virtual ‘heel’. The Delay B knob sets the time to move from ‘heel’ to ‘toe’. In Tempo Sync ON the maximum is ½ note.
Low Pass Filter: A low pass filter to ‘darken’ the effect.
Glissando Shape: Controls the ‘shape’ that the pitch modulation follows when using the Flex Switch. If set to Negative values, the pitch goes slowly towards ‘Toe’ and quickly transitions to ‘Heel’, Positive is the other way around, and 0 means the pitch shifts up and down linearly.
Set Pitch A with Exp Pedal in Toe Position: Sets voice A’s pitch shift in the toe position. When ‘OFF’ is selected, the A pitch shifter is disabled at the toe position and toe is treated as unison.
Set Pitch B with Exp Pedal in Toe Position: Sets voice B’s pitch shift in the toe position. When “OFF” is selected, the B pitch shifter is disabled at the toe position and toe is treated as unison.
- Performance Parameters
FLEX: Sweep the pitch shift from MIN to MAX of HOTKNOB.
Polyphony¶
A low-latency, high quality polyphonic pitch shifter capable of so much more. Making use of Eventide’s new SIFT (Spectral Instantaneous Frequency Tracking) technology, this algorithm shifts any chord or note you throw at it with zero tracking errors, all while the preserving the tone of your guitar. With this algorithm you can go from creating massive, organ-like chords and harmonies to out of this world special effects. The input signal is sent through the polyphonic pitch shifting engine which outputs two voices of shifted output - each with their own interval and detune controls. Included in the pitch shifting engine are the Auto EQ filters which help preserve the tone of the input signal. These filters are automatically adjusted based on the shifting interval to give the shifted voices as natural of a sound as possible, and the amount of filtering applied is adjustable. These voices are then fed to individual delays with independent time and feedback controls. The pitch shifting engine can be placed either inside or outside of this delay feedback loop, allowing you to create unique rising or sinking chorus sounds, and crystals type effects. Finally, the two voices can be independently panned when the output of the pedal is connected in stereo. As a cherry on top the latching or momentary Freeze performance switch allows you to infinitely sustain the pitch shifted sound while passing through the dry signal to create pad textures that you can play over.
Mix: Wet/dry mixer, 100% is all wet signal.
Inst Type: Tunes the underlying pitch shifting Algorithm for either pitched or percussive instruments.
Tip
The Percussive instrument mode is designed to prioritize preserving the transients and tone of the original signal while also having less latency. For applications where you would like to re-tune a guitar or bass (Mix is 100% wet) Percussive mode may work better for small shift intervals. For larger intervals the quality of the shifted sound will be be better in the Pitched mode.
Feedback Sw: Places the pitch shifter inside or outside of the feedback path.
Because the pitch shifting is a mono in, multi out effect, the feedback paths of the shifted voices are summed together first before being fed back to the pitch shifter. This causes the feedback to slowly fade towards the center even if the voices are panned hard left/right when the pitch shifter is inside the feedback path. There is also a gentle lowpass filter in this mode to help remove some of the very very high annoying stuff that can happen when shifting up over and over again.
Note: Feedback amounts may have different effects in one mode vs the other.
Auto EQ: Determines the amount of automatic EQ that is applied to the shifted voices to help them sound more natural. When shifting down the auto eq brightens things up to try and preserve the transients of the original signal. When shifting up, the auto eq smooths out harsh squeaky sounds. The eq is automatically adjusted based on the amount of shift applied in either direction. A default setting of 10 is recommended.
The following parameters are available for both pitch A and B:
Level: Adjusts the volume of the pitch.
Shift: -2 Oct, -P12, -P11, -Oct, -M7, -m7, -M6, -m6, -P5, -Tri, -P4, -M3, -m3, -M2, -m2, Uni, m2, M2, m3, M3, P4, Tri, P5, m6, M6, m7, M7, Oct, P11, P12, 2 Oct
Detune: The amount of detuning, from -50 cents to 50 cents.
Delay: The amount of delay, from 0 ms to 1000 ms.
Feedback: The amount of feedback for each voice. Behaves differently depending on how Feedback Sw is set.
Pan: Moves the pitch left or right in the stereo field.
- Performance Parameters
FREEZE: Freezes the pitch-shifiting sound for pad like textures. The dry signal is still passed through.
Prism Shift¶
Open the door to never before heard polyphonic effects. PrismShift leverages sophisticated polyphonic pitch tracking and Eventide’s new low-latency polyphonic pitch shifting engine to generate 3 arpeggiated voices (Low, Mid, High)—all from a single chord. The detected chord intervals are separated, staggered and pitch shifted to create 4 different arpeggio types: rising, falling, rising/falling, and falling/rising The arpeggios span up to 3 octaves, and can use 6 different groups of intervals. Turn up the feedback and glide between intervals to create a multitude of new effects.
Mix: Wet/dry mixer, 100% is all wet signal.
Arp Type: Sets which type of Arpeggio to use. The choices are:
Rising
Falling
Falling/Rising
Rising/Falling
Step Length: Time between successive notes in the arpeggio
Shift: Shift ratio for the low/high voices. E.g., if -1oct +1oct is used the high voice will be shifted up and octave and the low voice will be shifted down an octave. The choices are:
-1oct +1oct
-P4 +P5
-P5 +P4
+1oct +2oct
+P5 +P12
+P4 +P11
Arp Order: Order of the voices in the arpeggio. E.g., if the Arp Type is rising and the Arp Order is L-M-H, then the arpeggio will rise from low-to-high frequencies. However, if the Arp Order is H-M-L, then the high voice will rise, following by a rising mid voice, and then a rising low voice. This creates a simultaneous ascending while descending sort of effect. The choices are:
L-M-H
L-H-M
M-L-H
M-H-L
H-L-M
H-M-L
Auto Eq: An Eq for the pitch shifted voices. A default setting of 10 is recommended.
The following controls are available for all three voices:
Gain: A gain control for the specific voice.
Feedback: A feedback control for the specific voice.
Feed Tap: Feedback tap. When set to Total, each arp will complete a full cycle before feeding back. Sequence 1 and Sequence 2 cause the feedback to happen before the arpeggio is complete leading to interesting repeating patterns. Random uses a random feedback tap. The options are:
Total
Sequence 1
Sequence 2
Random
Spread: Controls the stereo spread of the voices. When set to -1 the Low voice is panned hard left, the mid voice is panned center, and the high voice is panned hard right. When set to +1 this is reversed. Intermediate values morph between these two extremes.
Slew Time: A slew on the Shift control. A large value will cause changes to the Shift parameter to glissando.
- Performance Parameters
Freeze (latching): Freezes the “High” and “Low” pitch shifted voices, the “Mid” voice (which is not pitch shifted) is not frozen.
Shift (M): Moves the current value of the shift knob 1 position clockwise, wrapping if necessary.
-1oct +1oct shifts to -P4 +P5
-P4 +P5 shifts to -P5 +P4
-P5 +P4 shifts to -1 +1oct
+1oct +2oct shifts to +P5 +P12
+P5 +P12 shifts to +P4 +P11
+P4 +P11 shifts to +1oct +2oct
Quadravox¶
Quadravox is similar to Diatonic but delivers up to four pitch shifted voices (A, B, C, D) instead of two. You can select the interval of each voice independently. You can also turn off any of the voices.
Note that it is possible to select OFF for all four voices. If you do, and the Mix knob is set 100% Wet, there will be no output signal.
Mix: Wet/dry mixer, 100% is all wet signal.
Pitch A and C/Pitch B and D Mix: Controls the ratio of level Pitch A+C to Pitch B+D. With the knob set full counter-clockwise, PitchA + PitchC are set to equal level. Full clock-wise, sets Pitch B + Pitch D to equal levels. The ratio of level of Pitch A to Pitch C and of Pitch B to Pitch D are fixed at equal levels and cannot be changed.
Pitch Shift A: Selects the harmonic interval (pitch shift) for Pitch A. Set to minimum to turn OFF voice A.
Pitch Shift B: Selects the harmonic interval (pitch shift) for Pitch B. Set to minimum to turn OFF voice B.
Delay D: Quadravox’s delay controls work differently from those in the other effects. Quadravox’s four delays are not independently variable. Instead, they are staggered with A having the shortest delay, B longer than A, C longer than B and D the longest. The Delay D control is used to set the last delay. With Tempo OFF, delay is displayed in ms. With Tempo Sync ON, delay can be sync’d to the tempo and is displayed as a rhythmic sub-division of the tempo beat value.
Delay Grouping: Select the grouping of the four delays (A, B, C, D). The delays can be evenly spaced or spread out.
Key: Selects the key.
Scale: Selects the scale. The supported scales are:
Major
Minor
Dorian
Phrygian
Lydian
Mixolydian
Locrian
Harmonic Minor
Melodic Minor
Whole Tone
Enigmatic
Neapolitan
Hungarian
Pitch Shift C: Selects the harmonic interval (pitch shift) for Pitch C. Set to minimum to turn OFF voice C.
Pitch Shift D: Selects the harmonic interval (pitch shift) for Pitch D. Set to minimum to turn OFF voice D.
Quantization - Quantizes the notes that are not in the selected key scale to fit within the selected key and scale.
- Performance Parameters
LEARN MODE: Press and hold the Learn switch while playing a note and the H90 will set the key to that note.
Resonator¶
Resonator staggers 4 resonant comb filters to create ambient, arpeggiated, or reverberant sounds. Each comb filter can be tuned to ring out when you play the note selected by the respective ‘Note’ knob. This creates dynamic effects that react with more or less intensity based on the harmonic content of the input audio.
Mix: Wet/dry mixer, 100% is all wet signal.
Length: Total length of the delay line. This length is split into 8 subdivisions on which the comb filters can be staggered.
Rhythm: Represents the rhythm pattern of the comb filters. Each digit indicates the subdivision on which a comb filter is positioned. “1.3.5.7” will sound like even quarter notes since the four comb filters are evenly spaced on the 1st, 3rd, 5th, and 7th subdivisions.
Feedback: The feedback level of each of the comb filters. Feedback type 1 [FB1] maintains the pattern set by the rhythm knob, whereas feedback type 2 [FB2] degrades the pattern as it repeats.
Resonance: Affects how intensely the comb filters resonate. The comb filters will ring out more intensely as the resonance increases in either the positive or negative direction. Resonance set to 0 will acts as multi-tap delay without any additional resonant tones.
Reverb: Controls the amount of reverb in the comb filter path.
Note 1: Tunes the note values that trigger each respective comb filter. When resonance is positive, all integer multiples of this frequency will resonate. When the resonance is negative, only odd multiples of this frequency will resonate. These note values also affect the high and low pass filters surrounding each comb filter. When resonance is set to 0, these knobs can still be used to filter the delays.
Note 2: Same as Note 1.
Note 3: Same as Note 1.
Note 4: Same as Note 1.