ico1 Distortion

Aggravate

Aggravate is an Octave fuzz inspired by famous classic analog octave fuzzes from the 70’s. This algorithm will satisfy all your Fuzz needs with its versatile controls, rich feature set and most importantly, its chewy tone that makes playing through it addicting!

  • Mix: The clean/dirty mix, full left is clean, full right is dirty.

  • Fuzz: The amount of fuzz.

  • Octave: Enables or disables the analog-style octave effect

  • Thick: Makes the fuzz thick (or thicker).

  • Mids: Midrange control for the stage. -100 to 0 removes midrange for a more scooped sound. 0 to 100 adds midrange.

  • Tone: -100 to 0 rolls off the treble creating a bassier tone. 0 to 100 brightens the effect.

  • Bias: Increasing this control will add a “spitty” characteristic to your tone.

  • Filter Env: Controls the sensitivity of the filter envelope follower. Negative values will start at a high cutoff frequency and move lower as you play; positive values will start at a low cutoff frequency and move higher as you play. At 0 there will be no filtering.

  • Env Shape: Shape of the enveloper filter. Exponential is suggested for guitar, while Linear is suggested for bass.

  • Resonance: Controls the resonance of the filter.

  • Pump Depth: Controls the ratio of the pumping compressor. Increasing this will make the pumping effect more pronounced.

  • Pump Control: Sets what the pump is controlled by. Pump Rate uses the included LFO, manual lets you control the Pump as a performance control.

  • Pump Rate: Adjusts the speed of the pump rate from .50 - 5 Hz. Higher pump rates work better with shorter release times.

  • Release: Release time of the pump effect.

Performance Parameters

  • Pump: Manually triggers the Pump effect. Only works when Pump Control is set to Manual.

  • Retrig: Retriggers the LFO of Pump Rate.

CrushStation

An overdrive/distortion command center with controls that drive your tone from creamy saturation to brutal sonic assault with everything in between. Use Eventide Harmonizer technology to crush some octaves into the mix, or turn up the Sag to bring the whole sound to its knees. An added bonus, CrushStation is a true stereo distortion.

  • Mix: The clean/dirty mix, full left is clean, full right is dirty.

  • Drive: The overdrive amount. Ranges from subtle boost/overdrive to full on distortion with Grit and Sustain controls pushing it into fuzz territory.

  • Compressor/Sustainer: Compression/Sustain which is Pre distortion (counterclockwise), or Post distortion (clockwise). The sustainer is specially designed to vary the numerous parameters of a typical compressor such as the ratio, attack, release, and the makeup gain to keep the overall loudness consistent.

  • Sag: Turn it up to get increasingly sputtery, crushed, and broken sounds. Inspired by power rail sag of poorly designed tube amps and the dead and dying gear of times past.

  • Octaves: Mixes in/out lower and higher pitch-shifted octaves before the distortion and compression.

  • Grit: Adds more low end before the distortion for a gritty chugging sound.

  • Bass: Cut and boost lower frequencies to hollow out the sound or add some thud.

  • Mids: Cut and boost mid range frequencies (frequency selectable with Mids Frequency control) to scoop some muddiness or punch through a mix.

  • Mids Frequency: Tunable center frequency of the Mids cut/boost. Similar to a parked wah when boosted up high. Smoothly changes when connected to an expression pedal.

  • Treble: Cut and Boost higher frequencies to mellow out the sound or emphasize higher harmonics.

Factory Presets

  • Bass Crush

  • Bisque

  • Bottom Feeder

  • Crawdaddy

  • Decapod Muff

  • Fra Diavolo

  • Fuzz Condition

  • Jumbo Shrimp

  • Metal

  • Power Crush

  • PunkRock Lobster

  • Sag Harbor

  • Scuttle Butter

  • Steamed in Beer

PitchFuzz

PitchFuzz is a multi-effects Algorithm combining Fuzz, three Pitch Shifters, and two Delays into one, easy to use effect. Fuzz is the first effect in the signal path, getting its inspiration from classic analog fuzz pedals as well as Eventide’s own CrushStation and Sculpt Algorithms. The Pitch Shifters are next in the signal path and are based on Eventide’s PitchFlex Algorithm from the PitchFactor pedal. The Delay section is last in the signal path and its lineage can be traced back to the Vintage Delay Algorithm in TimeFactor. The two Delays can be added to the entire output signal following the Pitch Shifters or added individually to two of the pitched voices only, creating arpeggiated type effects.

  • Fuzz: Controls the amount of Fuzz/Distortion generated after the input signal. A setting of 0 completely bypasses the Fuzz effect. Use 1 to 50 for a distortion type effect and 51 to 100 for more of a Fuzz type effect.

  • Fuzz Tone: Tone shaper for the fuzz effect.

  • Pitch Amount: Controls the level of the three Pitch Shifters. From 0 to 3 Voices. Pitch A: 0 to 1.0, Pitch A + B: 1.0 to 2.0, Pitch A + B + C: 2.0 to 3.0.

  • Pitch A: Adjust the pitch shift amount of the A voice. Range is +/- 2 octaves with micro pitch shift ability at unison (+/- 25c).

  • Pitch B: Same as Pitch A.

  • Pitch C: Same as Pitch A.

  • Delay Level: Controls the amount of both Delays in the signal path as well as two types of Delay routings (Group Delay and Arp Delay). Starting fully counter-clockwise, Group Delay sends the whole signal including all of the Pitched Voices to both delays. Turning past center activates Arpeggiated Delay Mode. In this mode, only voices B and C are fed to the delays (separately and respectively) allowing the creation of arpeggiated effects. Try this with Pitch Amount set to 3.0.

  • Delay A: Sets the Delay time for Delay A from 0 to 2500 ms when Tempo Sync is OFF. With Tempo Sync ON, Delay is adjusted in note division increments from No Delay to a Whole Note in the most common note divisions.

  • Delay B: Same as Delay A.

  • Feedback: Adjusts the amount of feedback for both delays and contains two feedback types (F1 and F2). F1 links both delay times to create a rhythmic, repeating pattern where the longer delay sets the pattern length. The shorter delay will not repeat again until the longer delay has passed. F2 is a traditional feedback control, where delay times are independent.

Factory Presets

  • 3 Octaves

  • Arpeggiate

  • Atmospheres

  • Big Bass Synth

  • Boogie Oogie Bass

  • Cherub

  • Chorus and Delay

  • Cobbler Triads

  • Copeland

  • Delicate Trinkets

  • Dovers Peach

  • Fripper Fuzz

  • Fruit In The Rain

  • FuzzStack

  • FuzzyMass

  • Goof Delays

  • Harp Chords

  • Hot McAdam

  • Juiced Up Bass

  • Just the Fuzz

  • LawfulKnowledge

  • Lethal Weapon 7

  • Mima Lead

  • Muscle

  • OhYouAteOneToo

  • Organizor

  • Peach Dog

  • Peach Slap

  • Peach-Tavia

  • Peaches KICK IT

  • Pitch Busters

  • R U Fuzz

  • Schnapps

  • Space Peach

  • Suspended Peach

  • Weird Orchestra

  • WholeLottaPeach

  • Working Man Bass

Sculpt

Multi-band Distortion w/ Envelope Follower Control Filters. Carve out your own sound with a dynamic variable blend of hi and lo band distortion channels. Follows your playing style and compliments you with the perfect expression of tunable peaking filters. Perfect for single or dual amp setups!

  • Mix: The clean/dirty mix, all the way left is clean, all the way right is dirty.

  • Band Mix: The mix between the low and high band.

  • Crossover Frequency: The crossover frequency where the low band and high band are split.

  • Low Drive: Overdrive of the low band.

  • High Drive: Overdrive of the high band.

  • Compressor: Pre distortion (counter-clockwise), or Post distortion (clockwise). Turn counter-clockwise to juice up the harmonics in the distortion, or turn clockwise for some sparkly compressor spank. The Sculpt compressor is specially designed to vary the numerous parameters of a typical compressor such as the ratio, attack, release and the makeup gain to keep the overall loudness consistent.

  • Low Boost: Boosts the low end either Pre distortion (counter-clockwise) for chuggier low end, or Post distortion (clockwise) for smoother low end.

  • Filter-Pre: Peaking filter Pre distortion. Turning left sweeps a cutting filter up in frequency. Turning right sweeps a boosting filter up in frequency, similar to having a parked wah before the distortion. Smoothly changes when connected to an expression pedal.

  • Filter-Post: Peaking filter Post distortion. Turning left sweeps a cutting filter up in frequency. Turning right sweeps a boosting filter up in frequency, similar to having a parked wah after the distortion. Smoothly changes when connected to an expression pedal.

  • Envelope Follower: Envelope follower that modulates both Filter-Pre and Filter-Post according to this input sensitivity setting. The values of Filter-Pre and Filter-Post become the depths that the envelope glides up to. Interesting dynamic changes are achieved when pre and post are set to opposite sweeps, e.g. Pre boost, and Post cut, etc.

  • Stereo Mode:

    • Split features unique spectral panning effects that spread the hi and lo bands out into the separate channels.

    • Dual Mono outputs the same signal to both outputs channels.

Factory Presets

  • Airbag

  • AntiWah

  • Butter Churner

  • Captain Crunch

  • Chisel

  • Dirt Boost

  • Dissect

  • Embwahss

  • Funke Biass

  • Fuzzy Pillow

  • Honki Tonki

  • Jazzy Box

  • Land O Lakes

  • Little Speaker

  • Meow Wow

  • MuthaShip Connect

  • Rumble Down Lo

  • Sculpt

  • Sculpt Da Bass

  • UFO Shred

  • Wahcraft

  • Wahvolver

  • Wizards Tele

WeedWacker

Two stage, serial overdrive (distortion) effect. Both stages are identical. Each stage is reminiscent of a famous green overdrive used by your favorite blues/rock players of yore.

  • Mix: Global mix level of the entire WeedWacker effect.

  • Gate Threshold: Adjusts the noise gate threshold for the entire effect. -90 dB is off.

  • Stage 2: Activates or bypasses the 2nd overdrive stage.

The following parameters are available for both Stage 1 and 2:

  • Drive: Sets the distortion level of the overdrive stage. 0 is cleanest. 100 is dirtiest.

  • Tone: Tone control for the stage. -100 to 0 rolls off the treble creating a bassier tone. 0 to 100 brightens the effect.

  • Mids: Midrange control for the stage. -100 to 0 removes midrange for a more scooped sound. 0 to 100 adds midrange.

  • Level: Final output level control for the stage.

Factory Presets

  • Bass Overdrive

  • Bass Overdrive

  • Bass Overdrive 2

  • Hairy Distortion

  • Light n Bright

  • Slap Drive

  • Slasher

  • Stank Drive

  • Tight Drive

  • WeedWacker