96 - H9000 - Vintage Emulations¶
Emulations of classic gear!
#9601 Unitide¶
A true emulation of a vintage Shin-ei Univibe (TM) in stereo! Imagine owning two Univibes and being able to control their LFOs for a true stereo effect.
Volume - Output volume of the effect
Intensity - Adjusts the depth of the modulation
Speed - Determines the rate of the modulation
Mode - Switches between chorus and vibrato mode
Softclip - Adjusts the amount of gentle transistor soft clipping
Width - Adjusts the stereo width of the output
Input Config - Determines whether the input is mono or stereo
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{M} | [G] | 96kHz | 2, 2 |
#9602 H3000 Micropitch¶
Emulation of some classic micropitch algorithms from the iconic H3000 effects processor.
Mode: Determines whether the effect is in stereo or mono
Mod: Adjusts the amount of modulation
Left/Right shift: Shifts the left/right input signal from -1200 to 1200 cents
Left/Right delay: Delays the left/right input signal from 0-1400ms
Note
For best pitch shift quality, make sure that the pitch shifter delay is set to something more than zero. This gives our software time to properly analyze the input signal. Usually, setting the pitch delay to the same value as the splice-time gives good results.
Left/Right Feedback: Determines the amount of feedback in the left/right delay path
Expert Parameters: These parameters are internal to the preset and generally shouldn’t be changed.
- Splice
This control sets the maximum splice length. This control is equivalent to the “minimum” frequency control of the TimeSqueeze® program or the “low note” control of the other pitch shifters. To deglitch lower notes, set this parameter to a higher value. To shift the low E on a guitar, this should be set to 13 milliseconds. To shift the low E on a bass, this should be set to 26 milliseconds. For optimum pitch shifting, this parameter should not be set any higher than necessary. Note: When this parameter is set to 43 milliseconds or higher, deglitching is automatically turned off. The large splice values are intended for reverse pitch shifting or special effects.
- Levels
The four level controls are used to set the output levels of the left and right pitch shifters and the left and right dry delay taps. Negative settings will invert the phase of the audio signal.
- Pan
The four pan controls are used to set the left/right panning of the left and right pitch shifts and the left and right delays.
- Modwave
Determines the waveform for pitch modulation. 0 = sine, 1 = random.
- Feedback
These control the amount of feedback for the two feedback paths of each pitch shifter. These values are scaled by the main feedback controls. (The non-expert parameter)
Warning
Be careful. Certain combinations of feedback sources can result in an unstable program. Keep the volume low while adjusting the feedback parameters.
H3000 Micropitch Presets¶
[101] Layered Shift
This algorithm uses the left input to create two separate pitch shifted outputs. The range of the shifters is up one octave and down two octaves (and, of course, any ratio in between). The right and left outputs are about to use any combination of these. The result… instant 3 part harmony. Hint: This is a real work-horse program for instrumentalists and vocalists.
[116] Multi Shift
What, another pitch shift program? Well, yes, but this one’s got a few neat tricks up its proverbial sleeve. The Multi-Shift algorithm has been optimized for micro-pitch shift, allowing discrete stereo pitch shifting. In addition to the pitch shifters, a delay tap has been added to each pitch shift channel, giving a total of four outputs. Each of the four outputs can be panned anywhere in the stereo field. The pitch shift range has been increased to plus or minus three octaves. Also, a “patchable” feedback structure has been set up, allowing each pitch shifter to use any two of the four outputs as feedback.
[508] Dual H910 Mono
This program is designed to function like two Eventide H910 Harmonizer effects processors. The glitching you hear is intentional. This is a true dual program, where both left and right channels are processed separately.
[514] Just Stereo
A very subtle, micro-pitch shift. Just enough to add a presence to an otherwise flat, mono sound.
[515] Magic Air
This has two upward micro-shifts and two delays in a tight, ambient formation. Use to liven and slightly raise flat vocals or to generally thicken sources.
[518] Micro + Reverb
Includes a micro-shift and a quasi-reverb set of delays with feedback.
[519] Micro Pitch Shift
This is the perfect effect to fatten up or widen a sound without adding any color.
[520] Micro-Reverb
Similar to above but much less discrete, with tighter delays.
[521] Micro Pitch Slap
The left channel is micro-shifted and the right is a slap delay with micro-shift. Great for guitar.
[528] Real Chorus
A convincing doubling effect. Pretty smooth.
[533] Voice Doubler
Sweeps two pitch shifters in opposite directions giving a convincing doubling effect.
[731] Mondo Chorus
A wide chorus that still keeps its punch.
[763] Moving Vocal Spread
Left output moves up nine cents, right moves down nine cents, with sine wave modulation.
[988] Real Chorus 2
Randomized doubler. Smaller than preset #528.
[Y102] Slap Back
[Y613] Big Guitar
[000] Clean
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
~ | [G][V] | 96kHz | 2, 2 |
#9603 SP2016 Reverb¶
Emulation of the classic Eventide SP2016 processor.
Algorithm - Selects the reverb algorithm. SP2016 Reverb features three reverb algorithms, Stereo Room, Room, and Plate. Each algorithm is available in two versions: Vintage and Modern. The Vintage algorithms are modeled on the original SP2016’s algorithms and hardware, and feature a lower bit-depth than the modern versions. The Modern algorithms are brighter, more diffuse, and use a higher bit-depth.
Mix - Controls the mix between the unprocessed input and the reverberated output. This is especially useful when some pre-delay is added.
Predelay - Introduces a delay before the reverb effect. SP2016 Reverb is capable of long pre-delays, up to 999 milliseconds, and these can be used to create echo effects as well.
Decay - Sets the reverb time.
Position - Position is used to move your “listening position” from the front of the “room” to the rear. You’ll find that Position is one of the most useful controls in adjusting the reverb to fit your mix. A simplified explanation: it changes the mix between the early and late reflections; what actually happens in the algorithm is more complex than this, however.
Diffusion - Diffusion alters the character of your space – from the sharp reflections of flat, hard surfaces (low) to the diffused reflections from rough, irregular ones (high). The Diffusion control doesn’t change the decay time, but it does have an effect on the evident nature of the decay by thickening or thinning its density. Note that this can often be a subtle difference and may be difficult to hear with some types of program material and/or with long decay times. The effects of the control will be most apparent with short decays and program material with percussive attacks.
The EQ (Equalization) section provides controls for high and low shelving filters. These controls affect parameters deep within the feedback structure of the reverberator and the effect may be subtle or dramatic depending on the program material and other reverb settings such as Decay, Position, or Diffusion. In general, the controls will have more pronounced effects at longer decay times and more distant position settings. Additionally, it’s usually easier to hear the effect of changes to the high frequency controls than it is to hear changes to the low frequency controls.
Low Frequency - Sets the corner frequency for the low shelving filter; the range is from 50 to 500 Hz in increments of 50 Hz.
Low Gain - Adjustable gain for the low shelving filter, from -8 to +4 dB.
High Frequency - Sets the corner frequency for the high shelf filter; the range is from 1000 to 8000 Hz in increments of 500 Hz.
High Gain - Adjustable gain for the high shelf filter, from -8 to 0 dB
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{R} | [G][V] | 96kHz | 2, 2 |
#9604 Instant Phaser MkII¶
Released in 1972, the Eventide Instant Phaser began the studio effects revolution by successfully simulating tape flanging, an effect that’s been at the core of legendary albums for the last five decades. Modeled on the original hardware unit, the Instant Phaser Mk II algorithm accomplishes the same legendary sound with all the analog personality, smooth modulations, and inherent musicality. Its capabilities have been expanded, and now you can even take your phaser on an excursion from the 70s far into the future with the delightfully characteristic “Age” knob. Outfitted with a complete host of control options, the Instant Phaser Mk II is out of the rack and into your plug-in arsenal.
Click here to read more about the history of the Instant Phaser.
Depth - Controls the mix of wet and dry signals. At 0% the output is solely the phase shifted signal. At 100% the output is the addition of the phase shifted signal and the input. This will cause a gain of 6dB at certain frequencies depending on the phase shift.
Feedback - Controls the feedback of the phase shift sections. 0% sends none of the output back to the input to the phase shift sections and 100% sends the maximum amount of output back to the input of the phase shift sections.
Mode - Adjusts the stereo width of the phasing: shallow, deep, and wide
Age - Controls the age of the electrical components that make up the Instant Phaser. 0% is a factory fresh unit from 1971, 25% is the box we modeled as it is now, 100% is a very ungracefully aged Instant Phaser.
Sidechain On/Off - When enabled, this changes the input to the envelope follower from the phaser inputs (1+2) to a side chain input (3), enabling control of the phase shifting from an external source.
Mod Source - The Mod Source knob sets which control signal is used to vary the phase shifting. This can be one of: Manual, Oscillator, or Envelope Follower.
Rate - Controls the rate of the LFO from 0.01Hz to 20Hz
Threshold - Controls the threshold of the envelope follower. This is variable from -30dB to -0dB.
Release - Sets the release time of the envelope follower. Release times can vary from 10 milliseconds to 10 seconds.
Sync On/Off - Syncs the LFO to the H9000’s Tempo Mode settings
Rate Sync - Determines the rate of the synchronized LFO in metric subdivisions ranging from 1/32 note triplet to 16 bars
Rset - Re-triggers the LFO such that it jumps to its starting value. Normally, the LFO is free-running, so this can be a useful tool to ensure that the LFO is the same between playbacks.
Manual - Provides manual control of phasing. 0% moves the nulls in the frequency response to their highest position in frequency, 100% moves them to their lowest position in frequency.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
~ | ~ | 96kHz | 3, 2 |
#9605 Instant Flanger MkII¶
The Instant Flanger Mk II brings the great sound of vintage tape flanging to your plug-in toolbox. An authentic emulation of the original 1975 studio rackmount, the Instant Flanger was famously used on David Bowie’s “Ashes to Ashes” and Cyndi Lauper’s “Time After Time.” A truly versatile tool, engineers and producers have used it for stereo sweetening, subtle modulations, double tracking, and extreme flanging effects.
Click here to learn more about the history of the Instant Flanger.
Click here to examine some practical and creative ways to use the Instant Flanger in contemporary music productions.
The Instant Flanger has no dedicated modulation source selector. Each mod source has its own on/off switch, and any combination of these switches may be active at once. This will sum the active control signals together and scale them appropriately.
Depth - Controls the mix of wet and dry signals. At 0% the output is solely the delayed signal. At 100% the output is the sum of the delayed signal and the input. At −100% the output is the sum of the delayed signal and the inverted input.
Bounce - Mimics the effect of the tape reel servo motors bouncing when you release them. At 0% there’s no bounce, at 100% there is maximum bounce. The bounce occurs when the control signal changes direction. So when using the LFO, the bounce will occur at either end of the oscillator, when it transitions between ascending and descending.
Feedback - Controls the feedback of the flanger output. 0% sends none of the output back to the input to the bucket brigades, and 100% sends the maximum amount of output back to the input of the bucket brigades.
Feedback Inv - This switch inverts the signal that is fed back to the input
Mode - Adjusts the stereo width of the flanging: shallow, deep, and wide
Low Cut - Applies a high-pass filter to the input signal before it is delayed. The original signal is still mixed with the output of the delays, but the flanging effect only acts on high frequencies.
Sync On/Off - Syncs the LFO to the H9000’s Tempo Mode settings
Rate Sync - Determines the rate of the synchronized LFO in metric subdivisions ranging from 1/32 note triplet to 16 bars
Rset - Re-triggers the LFO, making it jump to its starting value. Normally, the LFO runs independently. Re-triggering can be useful to ensure that the LFO’s position is the same in every playback.
Rate - Controls the rate of the LFO between 0.01 Hz and 20 Hz
Manual - Provides manual control of the flanging. 0% corresponds to setting the bucket brigades to their longest delay times, while 100% sets them to their shortest.
Sidechain On/Off - Enables an external side chain source to trigger the envelope of the flanger using input 3
Threshold - Controls the threshold of the envelope follower, between −30 dB and 0 dB.
Release - Sets the release time of the envelope follower. Release times can vary from 5 milliseconds to 10 seconds
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
~ | ~ | 96kHz | 3, 2 |