Eventide Effects Processor, H8000FW, H7600, Eclipse 3.0, 4000B+, Eventide Harmonizer

Pro Audio - Recording Equipment at The Rock Shop - Rob Dewar

Eventide is an American company which builds what is arguably the world's finest studio pitch-processing and harmonizing hardware, as well as a full line of broadcast-oriented processors, such as obscenity delays, logging recorders, instant-recall recorders, broadcast-specific effects processing, and compact multi-unit hardware control consoles. Eventide also offers a comprehensive line of TDM plugins, giving access to much of their extensive library of unique algorithms, in a software product line.

Eventide's flagship studio hardware processor is the H8000FW, featuring eight simultaneous channels of 24 bit effects processing, using a combination of four A/D-D/A throughputs for analogue console connections, plus an ADAT optical interface and FireWire digital connectivity, which, with Eventide's drivers installed, integrates the H8000FW seamlessly into any DAW production environment. The H8000FW provides over 1,800 onboard presets in mono, stereo and 5.1 surround configurations, and offers an elite array of unique algorithms, to address any processing demand imaginable, effortlessly. Additionally, the H8000FW allows users to actually create their own algorithms from scratch, by easily connecting and routing a chain of discrete components, made up from a pool of over 235 available effects blocks. The limits are.... pretty much not there.

Eventide's other available studio processors include the H7600, with the same compliment of Eventide's processing tricks packed into a more compact stereo package, the Reverb 2016, a dedicated reverb unit with stunning capabilities for the precise tailoring of rooms, stereo rooms, plates, and their reflective qualities, and the Eclipse 3.0, which provides a stereo studio effects and harmonizing powerhouse in an affordable single rack space package. For broadcasters, the DSP 4000B+ offers ultra-flexible processing, tailored for broadcast and post-production work, allowing the user to instantly create any number of acoustic environments, vocal tones, pitch shifts and formant shifts, and also, provides a library of popular sonic cues and sound effects for use in post-production, right onboard the unit. Eventide's circuit specifications are beyond reproach, with 24-bit architecture throughout, and signal-to-noise ratios of better than 110 dB. When compromise just isn't in your vocabulary, Eventide processors are your solid choice, to provide you with the power to create the sounds and effects you want, any way you want. For more in-depth information on any Eventide processor, please contact us.

Eventide H8000FW Sound Processing

The Eventide H8000FW is a fully-programmable, multi-channel, multipurpose, 24 bit, 96kHz-capable, dual or monolithic (both processors used to support one huge algorithm) topology digital signal processor (DSP) audio effects processor with UltraShifter™ capability. That's a lot of adjectives, but the H8000FW is a lot of processor! It is the flagship of a long, proud line of digital signal processors that stretches back to a time when most audio manufacturers didn't know digital audio from Morse code.

The H8000FW is loaded with features that put it in a class by itself. It has eight AES/EBU digital inputs and outputs, eight ADAT digital inputs and outputs, two S/PDIF digital inputs and outputs, and four analog inputs and outputs, plus a total of 16 IEEE1394 Firewire ins and outs. Routing among them is very flexible. The H8000FW houses two independent signal processors, each having eight inputs and eight outputs (imaginatively dubbed "DSP A" and "DSP B"). The two processors can be run in parallel, in series, or in any mutant variation thereof. In addition, the H8000FW can run "monolithic programs" that use the processing resources of both DSP A and B to run just one large program. The variety and depth of the programs that the H8000FW possesses are truly amazing, from lush reverbs, to choruses, to flanges, to delays, to pitch shifters, to dynamics, to EQs, to filters, to distortions, to synthesizers, to samplers, to ring modulators, and everything in-between. The H8000FW can do it all. And if that's not enough, DSP A boasts nearly three minutes of sample time in addition to the 44 seconds of delay time found on both DSP A and DSP B! And for the user who is interested in making his or her own programs (if the huge number of onboard factory programs - over 1580 - aren't enough!), the H8000FW continues the "modular programming paradigm" that made the DSP4000 and its offspring famous. Programs are composed of individual building blocks, or "modules," that allow the user to create and custom-tweak totally original programs - each program is its' own algorithm. Inspiration and creativity are given no bounds. . . If the world's highest-calibre, multichannel effects processor is something your work demands, or, if you want to do sophisticated, integrated effects processing in a 5.1 or 7.1 surround environment, within any type of audio system -even from right inside your DAW - there is only one solution - the Eventide H8000FW.

Eventide H7600 Sound Processing

The Eventide H7600 is a stereo, programmable, multipurpose, 24-bit/96kHz digital audio signal processor with UltraShifter ™ capability and is the single-processor companion product to the Eventide's H8000FW. The H7600 can do most everything the multichannel H8000FW can do, but in stereo. The variety of possible effects is virtually without end. And, if that's not enough, it boasts nearly three minutes of sample time in addition to 40 seconds of delay time! Once again, the Eventide H7600 continues the "modular programming paradigm" that made the DSP4000 famous - programs are composed of individual building blocks, or "modules", that allow the user to create and save completely original custom programs. For the user who needs a mega-processor like the H8000FW, but is working in a stereo environment, the H7600 repesents an affordable solution in an elegant and uncompromising package. If you'd like more information on the H7600, email Rob at Rock Shop Pro Audio.

Eventide 4000B+ Processor

Eventide Audio Processing 4000B+

The DSP4000B+ is based on Eventide's powerful DSP7000 professional audio effects processor, but it has a unique set of software programs created especially for radio, TV and postproduction by sound designer Jay Rose. Effects that would be impossible with most processors are instantly available with the DSP7000 series. Just press a button and look who's talking - an airplane captain from the cockpit. Press again - now, it's the kid at the drive-thru window at a fast-food place. Another press and you'll hear your words coming out of a computer voice chip, or the TV in the next room, or a cellular phone. There are dozens of audio environments to choose from. Fantasy voices are just as easy. Is that your conscience talking back to you? Or your fairy godmother? Or you worst nightmare? The DSP4000B+ is more than just a signal processor, it's your audio special effects department, a true creative partner. You also get sound effects and audio backgrounds built right in. Rain and thunder, the seashore, wind, a jet flying by. The DSP4000B+ can put your sound anywhere, from the top of the mile-high mountain to 200 feet underwater. Email Rock Shop Pro Audio for more details on this awesome Eventide processor.

Eventide Eclipse 3.0 Processor

The Eventide Eclipse 3.0 represents a world-class effects processor offering five times the processing power of the legendary Eventide H3000 (remember Steve Vai's guitar sounds?), in a single-rackspace, hyper-flexible stereo format. Every type of Eventide algorithm is provided in the Eclipse, so your favourite scale-dependent harmonizing, including User-Definable scales, lush reverbs and incredible delay, chorus, flange, filter and phase effects are all right there, and all with the same incredible modulation possibilities as Eventide's bigger processors. Eventide's "The Knob" data entry system makes building and tweaking programs a snap. The Eclipse 3.0 can operate its' processing in stereo, dual-mono, series or parallel, allowing the two channels of 24-bit, 96kHz processing to be used together on one audio program stream, either in tandem, or sequentially. The possibilities are virtually endless, and the quality is pure, luxurious Eventide. Programs can be stored to ordinary flash cards, when the onboard program memory gets full. The Eclipse 3.0 provides full MIDI control of its' parameters, two pedal control inputs, and both coaxial and optical S/PDIF (or S/PDIF via ADAT) connectivity, plus AES-EBU, in addition to two channels of ultra-clean analogue, via TRS/XLR multiconnector input and separate TRS and XLR outputs. Contact Rob at Rock Shop Pro Audio for more info in the Eclipse 3.0.

Eventide Reverb 2016

The Eventide Reverb 2016 by Princeton Digital recreates the legendary reverbs from Eventide's SP2016 - Stereo Room, Room Reverb and High Density Plate - and contains 3 new algorithms that provide updated variations on each of the original reverbs. It features two channels of 24 bit audio I/O. With dedicated function knobs and an intuitive user-interface, the 2016 is designed for easy operation - live or in the studio.

Turn the Preset knob to select any of the 99 stored programs. Press Preset to load the selected program.

Adjust the EQ - Low knob to cut or boost the low frequency portion of the reverb. Press and turn to select the roll-off frequency.

Position adjusts the arrival time, energy, frequency response and diffusion of the early reflections to give the impression of being close to the source (Front), far away (Rear), or anywhere in between.

Decay (RT-60) sets the time (in seconds) for a full amplitude signal to decay by 60 dB. (The maximum varies with the selected algorithm).

Predelay introduces a stereo delay (0-999 ms) before the reverb effect. Press while turning for coarse adjustment.

Mix adjusts the wet/dry ratio from completely dry to 100% effect. Use in conjunction with some Predelay.

EQ - High is used to cut the high frequency portion of the reverb. Press and turn to select the roll-off frequency.

The Reverb 2016 offers 99 available prest locations, organised with the presets generally progressing from small to large spaces within each bank. Want to build your own custom reverb? No problem...

Press Algorithm repeatedly to cycle selection of one of 6 basic reverb effects. Colored LEDs indicate your selection of Stereo (red), Room (yellow), Plate (green), or one of the 3 New (blue) effects: New Stereo, New Room, or New Plate. Adjust the Diffusion control to alter the character of your space - from the sharp reflections of flat, hard surfaces (Low) to the diffused reflections from rough, irregular ones (High). Tweak the rest of the parameters to perfection, and save the preset.... it's so simple, even a novice can master it in minutes.

The Reverb 2016 has S/PDIF Digital Input/Outputs, Balanced Analog Inputs, and Balanced Analog Outputs, in both XLR and TRS configurations. The 2016 can be MIDI controlled, parameter by parameter, too, making it a super-flexible and functional rig for both live and studio automation and remote control.

Eventide Eve/Net Remote Control System

The EVE/NET Network Remote Control System is a sophisticated approach to remotely controlling multiple audio processing units. It allows essentially any number of small remote control units to select from and control essentially any number of rack mounted Eventide Harmonizer Brand effects units. Currently the H8000, H8000A and H8000FW are supported, as well as the Orville, DSP7000 and DSP7500. All controlled units can be connected via a single cable over a range that can exceed one thousand feet. A single remote can be connected to a single H8000 by simply connecting the supplied RJ45 cable.

Eventide Anthology TDM Plugin Bundle

The Anthology TDM Plugin Bundle is comprised of the best Eventide effects from thirty-five years of crafting effects used on the top recording and post-production projects. Anthology II includes the entire Anthology bundle, plus six new essential production tools to round out the collection, forming the most complete Eventide bundle ever. The Anthology II bundle contains all the plug-ins you need for your next Pro Tools TDM project.

H3000 Band Delays™ is derived from the H3000 Band Delay algorithm; H3000 Band Delays is the plug-in for Pro Tools TDM featuring eight voices of tempo-based filtered delays with pan and volume controls. All eight filters are fully parametric with configurable low/band/high pass or shelving choices and a bandwidth control. Band Delays deploys an extensive Function Generator for modulation offering nineteen waveshapes, as well as MIDI control, and includes all of the original Band Delay presets found in the H3000.

H3000 Factory™ is based on the ever-popular Factory algorithms from the H3000 and is the ultimate effects tool kit. H3000 Factory features the ability to patch together any combination of eighteen effects blocks. Available effects blocks include delays, amplitude modulators, envelope followers, pitch shifters, filters, and low frequency oscillators. The Function Generator features nineteen waveshapes, a white noise generator, MIDI control, and a sidechain input. All delays and LFOs can be locked to system tempo. Each delay can be looped and offers a low pass filter. The filters are selectable band pass, high pass, and low pass with variable Q, and can be swept and modulated without audible artifacts.

Eventide Reverb is truly flexible, comprised of the best Halls, Plates, Rooms, Chambers, and Ambience from Eventide's top-of-the-line H8000 hardware processor. The reverb algorithms are complemented by a pair of three band parametric EQs (one before and one after the reverberator), a compressor which can be placed either before or after the reverberator, twin delays, and a bit reducer.

Octavox™ is derived from Eventide's flagship processor, and delivers eight voices of diatonic Harmonizer pitch shifting, each voice with individual delay adjustment and pan control. Octavox, a unique creation tool, features the Notation Grid™ which allows graphic placement of notes on a musical staff.

Precision Time Align™ offers precise positive or negative time alignment of individual tracks. Useful for bringing close-miked drums, overhead mics, and room mics into phase alignment.

In addition, the Bundle includes the EQ65 Filter Set vintage analog filter set, the E-Channel™ channel strip with a gate, compressor/limiter with sidechain, and five bands of 48-bit double precision parametric equalization, the Ultra-Channel™ gate, de-esser, Omnipressor or compressor/limiter with sidechain, five bands of 48-bit double precision parametric equalization, stereo delays, and the Harmonizer® micropitch shifter, the EQ45 Parametric Equalizer vintage analog parametric equalizer, the Quadravox™ diatonic Harmonizer, the Instant Phaser™ phase shifter, the Instant Flanger™ tape flanging simulator, the Omnipressor® dynamics processor, the H910 recreation of the very first Harmonizer brand effects processor, and the H949 pitch processor recreation, which introduced the world's first intelligent de-glitching algorithm.

Call The Rock Shop Toll Free
1-877-468-0304

Call Rob Dewar personally, for your next serious recording equipment investment...

Contact Rob at:
PO Box 20181 Penticton,
BC Canada V2A 8K3
Toll Free:1-877-468-0304
Telephone: (250)276-4127
EMAIL ROB

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Lexicon, The Lexicon Logo and all products listed or pictured are registered trademarks of Lexicon, Inc.
Rock Shop Pro Audio is in no way affiliated with Lexicon Inc.

Eventide, The Eventide Logo and all products listed or pictured are registered trademarks of Eventide Inc.
Rock Shop Pro Audio is in no way affiliated with Eventide Inc.

Rob Dewar, Audio Engineer

Rob's persistence in finding and implementing the most flexible, highest quality combinations of high end audio recording equipment, has resulted in a marriage of finely crafted analogue recording consoles and digital audio editing and processing, into hybrid systems of exceptional sonic quality. Throughout his career, Rob has insisted on the highest quality circuitry available to create an amazingly pristine, clear signal path, from the source instrument, to final copy. Explore this website and learn the differences, the reasons why the right choices in recording equipment produce the best results!

Contact Rob at:
PO Box 20181 Penticton, BC Canada V2A 8K3
Toll Free:1-877-468-0304
Telephone: (250)276-4127
EMAIL ROB

Eventide Corporate Information

The original company name was Eventide Clockworks, chosen by founder Richard Factor because "eventide" means "evening" and he started out by making digital clocks for DJs after hours.

Eventide Inc.
1 Alsan Way
Little Ferry NJ
07643
USA

phone: 201-641-1200
fax: 201-641-1640
web: eventide.com

Notable Links:

Eventide Press Releases
Eventide Audio Manuals
Orville and H8000FW Upgrade Form
User Reviews at Harmony Central

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Recording Tips Pt. 1

Effects processing

Virtually every audio engineer in the world uses effects processing of one kind or another, to track and mix their projects. During tracking, engineers often use limiting, and/or compression, to control the levels and character of their audio sources, and these two processes, plus many other effects, are used during mixdown, to improve individual recorded tracks, to help to "mesh" the mix together better, to resolve various issues raised during the mixing process, and to add intentionally distinctive and colourful icing to a well-conceived product. The list of effects used, or possible, is incredibly long, but most effects can be grouped into two distinct classes - time-based effects, and dynamic effects.

Time-based effects are those effects which are created through phase cancellations, or comb filtration between combined sounds, or by altering the time aspects of the sound directly, to create, for example, echoes. In all cases, time is the thing being toyed with, either by delaying the output of the audio, or shifting the speed of the playback stream, or through direct filtration, which is generally achieved through phase changes, in an audio circuit. Here are a few examples:

Delay uses either an analogue or digital circuit to "hold on" to the sound for some predetermined period, before sending it out, to be heard in the mix. This process isn't just for creating echoes, though.... delay times can range from as short as something less than a millisecond (1/1000 of a second), to over a minute, or more. Sure, up around about 100 ms, delays are heard as distinct echoes of the original, adding a "slapback", or an echoey, 50's ambience of sorts to the material being delayed, and adding distinct echoes, at longer times, but at shorter times, the effects can be quite intriguing, especially if the delay time is modulated a bit, up and down.

Flange (with a soft "g" sound, like "Angie".... not "flang") effect is created by combining this modulated, delayed signal back with the original dry signal, using a delay time of between about 1 - 20 ms. The speed of the modulation controls the speed of the "sweep" that is heard in this effect as the delay time changes, but at this ultra-short delay time, the effect is rather more like that of a filter, than a delay - and yes, this is what is called comb filtering.

Chorus effect is similar to flange, but uses delay times of about 25 - 50 ms, and slightly less modulation, as the longer delays cause alot of "smearing", if the modulation is too strong. Multi-voice choruses simply use more delay channels, all modulated independently, and them mixed back together, and panned in stereo.

Longer delay times, as discussed, create anything from a 1957-style slap echo, to long, repeating fade-outs of some phrase or note, that can go on for the duration of the entire recording, if desired.

Carefully-randomized, dense mixtures of dozens of short, medium and long delay echoes, filtered and dynamically controlled, become digital reverberation, or reverb, which can add some very realistic ambience, or "space" to a sound signal, and which can also be used to fill space, create a three-dimensional presentation, and to create some outright trippy soundscapes. Reversing the effect, or modulating it, can further blur the lines between reinforcement of reality, and artistic license.

Other effects which rely on these various technical aspects to create their sounds include phase shifters, pitch shifters and harmonizers. Phase shifters use a mixture of technologies, combining filtration with phase cancellations and modulation. The modulation trick has been adapted to auto panners, tremolos and vibratos, as well. Pitch-shifters and harmonizers digitally resample (change the digital playback speed of) a copy of the input audio to a different pitch, to create a simultaneous harmony part, played by only one performer. Through various combinations of these different processes, hundreds of variations on these themes are obtainable.

Some multieffects devices offer MIDI control, or foot control, over various parameters in a given program. Foot controls are great for live use, and sometimes, for home studio situations where you're all alone, and going live is the only way to do what you want to do. MIDI control can be used the same way as foot control, often, for an amazing assortment of different controls and parameters, which can be switched on the fly, but further, with a MIDI sequencer, or a spare MIDI track on your DAW, you can completely automate some very unique effects processes, because the effects can be modified and changed in real time, with your mix. This further allows you to tweak and save the process, over as long a period as you want, until you have exactly what you want to hear running, and then, you can print your mixdown.

Let's address dynamic devices, here. By this, I am referring to gates, expanders, compressors, limiters, duckers, de-essers, and anything else you come across which derives its' effect operation from changes in the key signal's dynamic level (how loud the key signal is, or relative changes in its' loudness). So, the key signal? This is an audio signal, which is usually, but not always, the program signal (the audio you are processing through the device), and the level of which is used by the dynamic processor to determine how it should respond during processing. Let's look at our first example, in the form of a gate, which we might well use in our mix, to clean up our drum kit sound, among other things.

First off, a quick talk on why we might need this gate in the first place. If you multitrack-record a live drum kit, and then listen back to the snare mic input, for example, soloed, or just by itself, you will notice quickly that it isn't just the snare drum that you're hearing - hihat, cymbals, toms and even some kick drum sound will all be present in the snare input, to some extent, having leaked into the mic during the recording. The issue, is the negative impact of this leakage on the final sound of your mix, first, due to the combined phase relationships of the different mics, because the arrival time differences between the sound leakage of, say, the kick drum, into the snare mic, from two feet away, mixed with the signal from the mic actually used on the kick drum, inches in front of it, create phase cancellations in the kick sound, and the other drums, too, making them thin and weak sounding, and also, because any processing applied to the snare channel, gets applied to the leakage, too, which isn't always pretty - imagine hi-hat sizzle lasting four seconds per shot, in your ballad-sized snare reverb.... kinda messy. So, our little audio gate just may be the answer.

As we can see from these two examples, if we could remove most of the leakage of the other drums from the snare channel, we could really independently tailor the snare, and come up with something pretty cool, more easily, than if the drums are all sort of flowing into each other, and with less unintentional mess. This applies to any other channels which are constantly providing more leakage than value - tom mics are another great choice to consider gating, because they get used only a few times in most songs, but leak other room sounds, and their own droning rumbling, for the whole song.... so, gate 'em out! What the gate will do, is silence (mute) the channel we apply it to, until some loud audio signal hits the key at enough level to tell the gate to open up, a point referred to as the threshold level, and then, the gate lets the program audio through, until the sound falls off again, below threshold, and then, it closes again, leaving silence.... the idea, is that a channel with a directly-mic'ed signal, plus leakage, will generally have the direct sound as the loudest one present in the stream, and the leakage, being quieter, can then be easily separated from the loud direct sound, dynamically. The idea is to set the threshold at a level in between the level of the leakage, and the program you want to hear, so only the loud stuff passes the threshold, and opens the gate. A Caveat: once the gate is open, it's open, so leakage isn't excluded anymore, and once it's closed, it's closed, so your program signal won't be passing through it, either. Think about this, and realize that you'll have a really hard time using a gate to kill leakage in any type of legato (flowing, unbroken) program signal, such as a bass, or a guitar, unless the part it's playing is very staccato, meaning choppy, and defined, with silence in between its' bursts of sound - silence, where the gate might close, and do you some good. Gates only make "silent" parts quieter.

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