98 - Next Gen Harmonizer

All new algorithms! Our finest DSP offerings from the next generation of Eventide Harmonizer technology!

#9801 Wormhole

Mega-sized, tilting reverb. How deep are you willing to go?

• Mix: Wet/dry mixer, 0 is fully dry, 100 is fully wet.

• Length: Wormhole distance in light years. Controls the decay time of the reverb. Internally tapered from 0 l.y. (shortest decay, 3s) to 100 l.y. (longest decay, 1000s). (0 to 100 l.y. or 30.67 parsecs).

• Diameter: Width of the interstellar Wormhole. Controls the size of the reverb. A Diameter of 0 is tight enough to pull the ears off a gundark. A Diameter of 100 will fit Executor-class Super Star Destroyers eight abreast.

• Lo Decay: Decay rate of the low frequency content of the reverb. 0 is quickest decay. 100 is slowest decay.

• Hi Decay: Decay rate out of the high frequency content of the reverb. 0 is quickest decay. 100 is slowest decay.

• Entry Field: Entrance characteristics to the Wormhole. Controls early reflections and diffusion in the reverb. 0 is a rougher entrance to the WormHole (less diffuse, noticeable early reflections). 100 is a smoother entrance to the Wormhole (more diffuse, less noticeable early reflections).

• Pre Delay: Delay added before Wormhole entrance. (0 t0 2000ms)

• Stability: Wormhole stability across time. Controls modulation depth of the reverb. 0% is the least stable Wormhole with large pitch variations happening to the reverb through time (max modulation/most unstable). 100% is a stable Wormhole with no reverb pitch variations through time (no modulation).

• Stability Rate: Movement speed of an unstable Wormhole. Controls modulation rate of the reverb. Range is from 0 (slowest rate) to 100 (fastest modulation rate). Use in conjunction with the Stability control.

• Warp Acceleration: How long it takes to traverse the wormhole and reach the top warp speed set by the Warp Factor control. Units are in total time to traverse the wormhole and lower values accelerate faster. Controls the rate of change of the reverb delay lines. (1.0 to 10s)

• Warp Factor: Top warp speed desired through the wormhole. Higher Factors manifest as a higher final pitch changes. Warp Factor 10.00 theoretically highest possible speed. Controls the amount of change of the delay lines. (5 to 10s)

• Warp Mix: Sets the mix level of the effect during warping, overrides the Mix control.

• Warp Bass: Bass EQ control for Warp effect.

• Warp Treble: Treble EQ control for Warp effect.

Performance Parameters

• Warp (L): Latching switch. Press once to go thru the entire warping cycle. Footswitch unlatches after cycle completion.

• Warp (M): Momentary switch. Hold to keep warp cycle engaged. Releasing before cycle completion generates a “deceleration” (decreasing pitch) sound to the warp effect.

#9802 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 2 s.

• 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.

MIDI

When using the Freeze performance parameter, it is possible to send MIDI note data from a MIDI keyboard or sequencer to change the pitch shift intervals of Polyphony. The MIDI monitor window will display the pitch shifted amount in cents.

• Glissando: Adjusts the amount of time it takes for the pitch shifted note to glide to the next note from 0 to 2000ms.

• Sustain: Momentary will only change the pitch shifted value while an incoming MIDI note is ON, it will return to the Shift parameter’s value when the MIDI note is OFF. Latching will hold the value of the incoming MIDI note until it receives another MIDI note.

• MIDI Channel: Sets which channel the algorithm will receive MIDI notes from. 1-16 or Omni.

• Note Mode: Determines wether the MIDI note input is Mono or Poly.

• Poly Mode: Determines how the incoming MIDI notes change the pitch shifted value. This parameter has no effect if Note Mode is Mono.

  • Normal: Voices are assigned in a round robin fashion.

  • Ordered: First note played is always Voice1. Then Voice2 and so on.

  • Spread1: All notes play if any keys are pressed. Voice1 is the highest, Voice2 is the next highest and so on. The note assignment happens every time you press a key. If you just press one note, all voices play the same note.

  • Spread2: Just like spread1 except that note assignment also happens when you lift up a key. When you lift up from a chord, you’re left with all voices playing one note.

#9803 VocalShift

A high quality vocal harmonizer from the company that invented the term, VocalShift is Eventide’s best offering yet for vocal focused effects. 2 voices with independent pitch and formant shifting, key/scale quantization, detune, delay lines and panning controls. The perfect tool for modern vocal production.

• Mix: Wet/Dry mixer.

• Root: Sets the root for the Scale parameter

• Scale: Set the Scale that determines the pitch shifted intervals

• Shift A/B: pitch shift interval

• Formant A/B: Formant shift amount. Positive values will make the voice sound more chipmunky, negative values will make the voice sound more throaty. Leaving this control at 0 will preserve the formants and give a more natural sound when changing the Shift parameter.

• Formant Link: Automatically stretches or compresses the vocal formants in proportion to the pitch shift interval. Positive values will make the voice sound more throaty when pitching down and more chipmunky when shifting up. Negative values invert this relationship. Larger positive or negative values produce a more pronounced effect. A value of 0 preserves the natural formants of the voice (they are unaltered).

• Gain A/B: Voice level

• Delay A/B: Delay time in ms or Tempo Synced

• Feedback A/B: Feedback amount

• Pan A/B: stereo position (-50: left, 0: center, 50: right)

• Detune: Applies equal detuning up and down to Voice A & B from 0 to 50c. 0 to -50c applies opposite detuning.

• Tuning Speed: Adjust the speed of pitch shifting from snappy, hard tuned quantization to more subtle pitch correction. Note that tuning speed is applied whether quantization is on/off, and is an important parameter to tuning how the algorithms processed the vocal signal. 0 to 500ms

• Quant On/Off Quantize the input shift amount to values determined by the Root/Scale parameters. Can be used for natural pitch correction or popular quantized vocal shifting techniques.

• Quant Error: Allows small pitch variations to not be quantized. Useful for vocals with vibrato when quantization is on. 0 to 50c.

• Latency Mode: Low/High - Higher latency may result in improved performance with a tradeoff of more noticeable latency. The high latency setting is recommended when using extreme formant settings. Low introduces ~25ms of latency, while High introduces ~50ms of latency.

• Glide A/B: pitch shift interval for glide performance control

• Rise A/B: rise time for glide

• Fall A/B: fall time for glide

Performance Parameters:

• Root learn: Pressing the footswitch momentarily analyzes the note currently being sung, and updates the Root control (see above) accordingly.

• Glide (Mom): Momentary pitch shift to the glide interval.

#9804 VocalShiftMIDI

A three voice version of our VocalShift algorithm with MIDI control of the pitch shift values. Great for playing vocal harmonies and chord stacks, pitch correction using a MIDI roll, creating pads and textures, and more.

Note: Be sure to hook up a midi device (either through MIDI DIN or USB and set the correct channel)

• Mix: Wet/Dry mixer.

• Tuning Speed: Adjust the speed of pitch shifting from snappy, hard tuned quantization to more subtle pitch correction. 0 to 200ms.

• Tuning Ref: Defaults to 440Hz.

• Gate: Controls the threshold of the noise gate.

• Glide: Sets the slew time between note changes for each voice. 0-5000 octaves per millisecond.

• Gain A/B/C: Voice level.

• Delay A/B/C: Delay time in ms or Tempo Synced.

• Feedback A/B/C: Feedback amount.

• Formant A/B/C: Formant shift amount. Positive values will make the voice sound more chipmunky, negative values will make the voice sound more throaty. Leaving this control at 0 will preserve the formants and give a more natural sound when changing the Shift parameter.

• Formant Link: Automatically stretches or compresses the vocal formants in proportion to the pitch shift interval. Positive values will make the voice sound more throaty when pitching down and more chipmunky when shifting up. Negative values invert this relationship. Larger positive or negative values produce a more pronounced effect. A value of 0 preserves the natural formants of the voice (they are unaltered).

• Pan A/B/C: Stereo position (-50: left, 0: center, 50: right).

• Note A/B/C: displays the incoming MIDI note that input voice will be quantized to.

• Attack: Attack time of the pitch shifted voice. 0-3000 ms.

• Decay: Decay time of the pitch shifted voice. 0-1000 ms.

• Release: Release time of the pitch shifted voice. 0-3000 ms.

• Sustain Level: The level that the pitch shifted voices will sustain at while a MIDI note is held after the decay period. Once the MIDI note is OFF, the release time will be applied.

• Sustain Mode: Momentary will only output pitch shifted audio while an incoming MIDI note is ON. Latching will ignore MIDI note OFF and hold the value of the incoming MIDI note until it receives another MIDI note. The ADSR parameters do not apply when Sustain Mode is latching.

• MIDI Channel: Sets which channel the algorithm will receive MIDI notes from. 1-16 or Omni.

• Note Mode: Determines whether the MIDI note input is Mono or Poly.

  Poly - All notes will be received on the defined MIDI channel.

  Mono - MIDI notes for each voice will be received on an independent MIDI channel. Voice A will be received on the defined MIDI channel. Voice B will be received on the next channel up, and Voice C will be the next channel after.

• Poly Mode: Determines how the incoming MIDI notes change the pitch shifted value. This parameter has no effect if Note Mode is Mono.

  Normal: Voices are assigned in a round robin fashion.

  Ordered: First note played is always Voice1. Then Voice2 and so on.

  Spread1: All notes play if any keys are pressed. Voice1 is the highest, Voice2 is the next highest and so on. The note assignment happens every time you press a key. If you just press one note, all voices play the same note.

  Spread2: Just like spread1 except that note assignment also happens when you lift up a key. When you lift up from a chord, you’re left with all voices playing one note.

• Latency Mode: Low/High - Higher latency may result in improved performance with a tradeoff of more noticeable latency. The high latency setting is recommended when using extreme formant settings. Low introduces ~25ms of latency, while High introduces ~50ms of latency.

• Freeze: Freezes the input signal, allowing you to create pad effects and shift them using MIDI note input.

#9805 PolyFlex

A fully polyphonic version of our classic, 2-voice PitchFlex algorithm, with a few added bonuses. Bend a chord into a new harmony, perform polyphonic dive bombs, or achieve pedal steel like tones. Fully equipped with detune, freeze, and individual controls for flexing either voice. The brand new Auto Engage feature allows you to preserve your dry signal while you are not flexing.

• Mix: Wet/dry mixer, 100% is all wet signal.

• Detune: A detune amount applied to both the base shift amount and the Flex amount, from -50 cents to 50 cents.

• Flex Time: How long it takes to get from the Shift interval to the Flex interval from 0 to 2 seconds.

• Return Time: How long it takes to return to the Shift interval from the Flex interval from 0 to 2 seconds.

• Auto Engage: When on, the algorithm is bypassed until the Flex is engaged, or Manual Flex is above 0. This will be triggered by any of the available ways to Flex.

• Auto Engage Hold Time: If Auto Engage is on, this parameter allows the pitch shifted effect to remain on for a period of time from 0 to 1 second. This can help the auto engage parameter from disengaging abruptly.

The following parameters are available for both pitch A and B:

• Level: Adjusts the level of the pitch shifted voice.

• Shift: The base pitch shift amount specified in musical intervals for each voice of shifting. -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

• Flex: The pitch shift amount to dive/bend to. -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

• Pan: Moves the pitch left or right in the stereo field.

Performance Parameters

• FLEX (A/B) - Momentary or latching performance parameter to activate the pitch bend/dive for each shifted voice. Current pitch shift is determined by whichever control was touched last (this or the manual flex knob/external controller)

• Flex Dual - Momentary or latching performance parameter to bend/dive both voices at the same time. Current pitch shift is determined by whichever control was touched last (this or the manual flex knob/external controller)

• FREEZE: Freezes the pitch-shifiting sound for pad like textures. The dry signal is still passed through. Note that if Auto Engage is On, you won’t hear the frozen signal when you are not flexing.

9806 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

9807 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.

9808 Sticky Tape

Classic Tape echo effects are loved for the character, grit, and modulation that they impart. Sticky Tape opens up a world of tape tone possibilities, without the complexity. Dial in a bit of drive and compression to sweeten up your clean tone, or turn up the Wow & Flutter and embrace the lo-fi. Dual tape machines with offset and width controls offer a wide range of doubling or slapback echo effects, with bonus Flange performance parameters to get that classic, dramatic, studio style tape flange. Just like a reel tape machine (pun intended), Sticky Tape will chew up anything you can throw at it and spit it out sounding warmer, fatter, and full of tapified goodness.

• Mix: Controls the amount of dry and tapified signal.

• Compression: How much compression is applied. This is based off of the compression section of the DBX compander found in many professional tape machines.

  NOTE: Gain is automatically applied after the compression to try and maintain constant signal level. The Compression knob has been tuned for both Guitar and Bass. It is especially important to have the Instrument Type set correctly for Bass input and high Compression amounts.

• Rec Drive: How much gain is applied before going in to the tape emulation.

• Tape Speed: Controls the nominal speed at which the two tape machines are running. This affects the tone of the signal.

• W&F Amount: Adjusts the amount of wow and flutter applied.

  NOTE: With no offset, or no flanging engaged this will sound like detuning. With offset, or a flange engaged this sounds like modulation.

• W&F Rate: Controls the speed of the wow and flutter. 10 is a faster, more fluttery sound and 0 is more wowy.

• Filter: A simple tone control applied after the tape processing.

• Width: When stereo outputs are connected this pans the two tape machines to opposite sides.

  Note: When Offset is 0.0, or only a single output is connected, this control will do nothing.

• Machine 2 Offset: Controls how delayed Machine 2 is from Machine 1 by adjusting its speed. At 0, the machines are running perfectly in sync. 10 adds enough delay to get into slapback territory.

  NOTE: When no offset is applied, a default range is used when using the Flange performance switches. If an offset is applied, then the offset is treated as the range.

• Flange Length: Controls the rate of the flange performance parameters. This represents the time it takes for the flange to travel 1/2 of its period.

Performance Parameters

• Flange (M): A momentary performance switch to engage the flange. This changes Machine 2’s speed by an amount determined by either the offset, or a default setting, and a rate determined by the flange length knob. Hold it down and it’s like your thumb is on the reel, lift up and the speed of Machine 2 will return to its original setting.

• Flange: A latching performance switch which simply turns on or off an automatic flange.

9809 PolySynth

Did anyone order extra Sawz? Using our new SIFT technology found in the Polyphony, Prism Shift, and PolyFlex algorithms, and building on the earlier work done for our HotSawz algorithm we’ve created PolySynth - a fully polyphonic Guitar to Synth transformer. With multiple oscillator wave shapes, modulation options, and envelope control of the filter cutoff you can add just a drop of synth tone, or layer it on extra thick.

• Mix: Controls the amount of dry and pitch shifted signal. 0 to 100.

• Attack: Controls the Attack time of the generated synth sounds. 5 to 1000 ms or Tempo Based.

• Resonance: Controls the resonance of the filters after each synth voice. 0 is no resonance, 100 is very resonant. 0 to 100.

• Cutoff: Controls the cutoff frequency of the filter. 0 to 100.

• Env Amount: Sets the maximum amount the filter cutoff will open or close to (start is always what is set by the Cutoff knob). -100 to 100.

• Env Sense: Adjusts the sensitivity of the envelope or how hard do you need to play to get it to hit the value set by Env Amount. 0 to 100.

• LFO Destination: Sets what parameter the LFO is modulating:

  • Cutoff

  • Volume

  • Pitch

  • PWM

  • Detune

• LFO Amount: Controls the amount of modulation the LFO applies. -100 to 100.

• LFO Rate: Sets the speed of the LFO. 0.01 to 20.0 Hz or Tempo Based.

• LFO Shape: Sets the shape of the LFO:

  • Sine

  • Triangle

  • Square

  • Peak

  • Ramp Up

  • Ramp Down

  • Random

  • Sample & Hold

• Detune: Adds a variable amount of detuning of the synthesized voice. -100 to 100.

• Freeze Release: Determines the release time after a sound is un-frozen. NOTE: It is intended that no new notes are played during a freeze release, but as they say - all rules are made to be broken.

• Pitch Wheel: A parameter designed to be mapped to an external controller (MIDI, Exp Pedal, etc). Mimics a pitch wheel on an actual keyboard and modulates the pitch +/- 1200c.

• Playstyle: Tunes the algorithm to either monophonic or polyphonic playing (or somewhere in between). Monophonic will result in the purest synth tones, Polyphonic will result in better tracking.

  Tip

  In addition to adjusting the Playstyle parameter, tracking is generally improved when using the neck pickup.

• Shift: The shift amount of the oscillator voice given in musical intervals. -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

• Shape: The waveform for the oscillator:

  • Saw

  • Square

  • Triangle

  • Narrow Pulse

  • Wide Pulse

Performance Parameters

Freeze: Performance parameter which freezes the current synth sound.

LFO Retrig: Momentary performance parameter which retriggers the LFO.

9810 VocalTune

A stripped down version of our VocalShift algorithm, designed for vocal correction and hard tune effects. An EQ and compressor round out this algorithm to give you all the tools you need to polish up a vocal track or cut through the mix in a live setting.

• Root: Sets the root for the Scale parameter.

• Scale: Set the Scale that determines the intervals that the vocals will be quantized to.

• Tuning Reference: Set the reference point for the key/scale quantization.

• Quant Error: Allows small pitch variations to not be quantized. Useful for vocals with vibrato when quantization is on. 0 to 50 c.

• Formant: Shift the formants from -600 to 600 c without adjusting the pitch.

• Tuning Speed: Adjust the speed of quantization from snappy, robotic sounding quantization to more subtle pitch correction. 0 to 500 ms.

• Bass: Boost/Cut the bass frequencies from -18 to +12 dB.

• Treble: Boost/Cute the treble frequencies -18 to +12 dB.

• Threshold: Set the threshold of the compressor.

• Ratio: Ratio of the compressor, ranging from 1:1 to 20:1.

• Attack: Compressor attack time, 0.1 to 100 ms.

• Release: Compressor release time, 1-1000 ms.

• Gain: Compressor makeup gain, -16 to +12 dB.

• Gate: Threshold of noise gate.