Eventide H9 Multi-FX Algorithm Guide v12

Table of Contents
H9 - Algorithms and Their Parameters 3
Space Algorithms
Hall 4
Room 5
Plate 6
Spring 7
DualVerb 7
Reverse Reverb 8
ModEchoVerb 9
BlackHole 10
MangledVerb 11
TremoloVerb 12
DynaVerb 13
Shimmer 14
PitchFactor Algorithms
Diatonic 16
Quadravox 17
HarModulator 19
MicroPitch 20
H910/H949 21
PitchFlex 22
Octaver 23
Crystals 24
HarPeggiator 25
Synthonizer 31
TimeFactor Algorithms
Digital Delay 33
Vintage Delay 34
Tape Echo 35
Mod Delay 36
Ducked Delay 38
Band Delay 39
Filter Pong Delay 40
1
MultiTap 41
Reverse 42
Looper 43
ModFactor Algorithms
Chorus 54
Phaser 55
Q-Wah 57
Flanger 58
ModFilter 59
Rotary 60
TremoloPan 61
Vibrato 63
Undulator 64
RingMod 65
H9 Algorithms
UltraTap 67
Resonator 68
EQ Compressor 69
CrushStation 70
SpaceTime 71
Sculpt 73
PitchFuzz 74
HotSawz 75
Harmadillo 77
TriceraChorus 82
2
H9 - Algorithms and Their Parameters
Algorithms are the basis for all of H9’s Presets. Each algorithm employs a unique signal
processing structure to achieve its effect and each algorithm has a unique set of control
parameters associated with it. The H9 can be loaded with over 50 algorithms taken from
Eventide’s family of stompboxes as well as some algorithms created specifically for the H9.
Algorithm and parameter names have been customized to accommodate the H9’s six character
display. In this document, displayed characters on the stompboxes 6 character LED display
are indicated in brackets [XXXXXX]. The algorithms are grouped by stompbox lineage: Space,
PitchFactor, ModFactor and TimeFactor plus algorithms new for the H9.
One of the purposes of this document is to help users create and tweak presets. If you do a
lot of that sort of thing, you’ll find the H9, with its one knob, six character display and a few
switches, a bit restrictive. From the start, the H9 was designed with the intent of pairing it with
a rich remote control app. That’s H9 Control: Our free app for iPhone/iPad, Android, macOS
and Windows. H9 Control can connect via Bluetooth or USB to your H9. If you’re doing lots of
tweaking or creating presets, we urge you to try out H9 Control as it can greatly simplify the
process of creating and managing presets.
All algorithms have a Performance Switch which gives you the ability to instantly change
the sound of the effect using a MIDI CC, Auxiliary Switch or H9 Control. The function of the
Performance Switch depends on the algorithm. In H9 Control the Performance Switch is the
middle button at the bottom of an algorithm's control interface.
Most time-based parameters, such as delay, change their displayed values as Tempo mode is
turned On or Off. When Tempo is On, the parameter is a note value, such as 1/4 note, that is
a tempo-synced division of the beats per minute (BPM). When Tempo is Off, the parameter is
either (a) time in seconds or milliseconds or (b) frequency in Hz.
In some cases changing one parameter may affect the displayed values of other parameters.
For example the Chorus algorithm has four types, Liquid Chorus, Organic, Shimmer and
Classic, and switching between the different chorus types affects the functions of the other
parameters. There is more information about the relationships between various parameters in
the documentation for each algorithm.
3
Space Algorithms
Space’s basic algorithms are designed to simulate the sound of real-world enclosures and
devices – halls, rooms, plates, springs. Other algorithms are designed to creatively combine
reverb effects with other signal processing functions such as tremolo, modulation, distortion,
pitch change, resonance and reversal to create unique effects well beyond the confines of
simple reverb.
Performance Switch/HOTSWITCH
Each algorithm supports a Performance Switch function which gives you the ability to instantly
change the sound of the effect using a MIDI CC, Auxiliary Switch or using H9 Control. For
Space algorithms the Performance Switch can be programmed to instantly switch between
two sets of parameters. This HOTSWITCH allows you to switch between the normal Preset
parameter values and a programmed, alternate set of parameter values. It’s like having two
Presets in one!
The HOTSWITCH is programmed using H9 Control. Press and hold the GUI’s middle
‘footswitch’ until the ring flashes. With the ring flashing, adjust any combination of parameters to
their ‘alternate’ value. When you find a setting that you like remember to save the preset or you
will lose your new HOTSWITCH setting.
Some reverb parameters, typically decay parameters, can have values of Infinity or Freeze.
Infinity is infinite sustain/reverb, which builds up over time, it continues to layer your input
through the reverb. Freeze is like Infinity, but it doesn’t build up. Freeze takes whatever is
currently in the buffer, and holds it (no new input). You can latch or unlatch the Infinity and
Freeze features with an Aux switch, HotSwitch, expression pedal or over MIDI.
Hall - [HALL]
Hall simulates the sound of large enclosed spaces. Hall offers flexible control of a 3-band
crossover reverb network. There are independent decay controls for the low and high band, as
well as independent level controls for low, mid, and high band. This is the go-to algorithm for
beautiful realistic spaces or for reverb sounds just beyond the boundary of realism.
Mix [MIX] wet/dry mixer, 100% is all wet signal
Decay [DECAY] master decay in seconds or note-based in Tempo Mode
Size [SIZE] hall size
Pre Delay [PREDLY] pre-delay in milliseconds or note-based in Tempo Mode
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Low Band boost/cut of LOW reverb with cut-off at 300 Hz, -100 effectively
[LO-LVL]
Reverb Level cuts all of the low band reverb
High Band boost/cut of HIGH reverb with cut-off at 1500 Hz, -100
[HI-LVL]
Reverb Level effectively cuts all of the high band reverb
Low Band
[LO-DCY] decay of LOW reverb, scales the [DECAY] time
Decay
High Band
[HI-DCY] decay of HIGH reverb, scales the [DECAY] time
Decay
Modulation
[MODLVL] increases random modulation of reverb tails
Level
Mid Band boost/cut of MID reverb (between 300 and 1500 Hz), -100
[MIDLVL]
Reverb Level effectively cuts all of the mid band reverb
Room - [ROOM]
Room is designed to dial in realistic room sounds from vocal booths to small halls. The controls
allow for precision tweaking of early reflections, late reverb, and EQ. Room is the workhorse
algorithm for placing a sound in a realistic space or adding that subtle fattening that isn’t
immediately noticed but is always immediately missed.
Decay [DECAY] decay in seconds or note-based in Tempo Mode
Size [SIZE] room size
PreDelay [PREDLY] pre-delay in milliseconds or note-based in Tempo Mode
Low Band post reverb shelving boost/cut of low frequencies with cut-off at
[LO-LVL]
Shelving 350 Hz
High Band post reverb shelving boost/cut of high frequencies with cutoff at
[HI-LVL]
Shelving [HIFREQ]
Early/Late
Reflection [REFLEX] Control the levels of the early and late reflections.
Levels
5
adjusts diffusion amount which affects reverb build up and tail
Diffusion [DFSION]
density
Modulation
[MODLVL] adds random modulation of both diffusors and late reverb tail
Level
High Band
Control the corner frequency of [HI-LVL]. No affect if [HI-LVL] is
Cutoff [HIFREQ]
set to 0.
Frequency
Plate - [PLATE]
Plate simulates the sound of early analog-mechanical reverbs. This algorithm allows for long
reverb times that won’t take over your sound. Be sure to play with the [LO-DAMP] and [HI-
DAMP] knobs to explore the full palette of tonal variations.
Size [SIZE] plate size
PreDelay [PREDLY] pre-delay in milliseconds or note-based in Tempo Mode
Low Band
[LO-DMP] Sets the damping frequency for the low end
Damping
High Band
[HI-DMP] Sets the damping frequency for the high end
Damping
Transducer
Distance/ [DSTNCE] sets room/transducer distance from source/plate driver
Spread
adjusts diffusion amount which affects reverb build up and tail
Diffusion [DFSION]
density
Modulation
[MODLVL] mixes in random modulation in reverb tail
Level
Tone Control [TONE] a pre-reverberator tone control, left is darker, right is brighter
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Spring - [SPRING]
Spring models the sound and character of the popular artificial reverbs found in guitar amplifiers.
It also goes a step further by allowing access to physical parameter controls not readily
available in a real spring tank.
By tweaking these parameters, the Spring algorithm can create faithful representations of
real springs or push the physical boundaries to achieve new distinctive sounds. Pay extra
attention to the [TNSION] and [NUMSPR] knobs to control the amount of ‘springiness’. For good
measure, we’ve also included a tube amp style tremolo at the reverb input.
Mix [MIX] wet/dry between reverb and tremolo dry signal
Tension [TNSION] Controls spring tension
Number
[NUMSPR] number of springs in the 'tank,' mixes in 1 to 3 springs
of Springs
Low Band
[LO-DMP] Sets the damping frequency for the low end
Damping
High Band
[HI-DMP] Sets the damping frequency for the high end
Damping
Tremolo
[TRMOLO] input tremolo intensity or depth (tremolo is pre-reverb)
Intensity
Tremolo Rate [TRM-RT] input tremolo rate in Hz or note-based in Tempo Mode
Modulation
[MODLVL] mixes in modulation for a nice chorusing effect
Level
Resonance [RESNCE] metallic resonance at the [HI-DMP] frequency
DualVerb - [DUAL]
DualVerb combines two different high quality studio reverbs (A and B) with independent controls
for decay, size, pre-delay, and EQ. Mix between both for rich, dense stereo reverberation, or
use this effect to smoothly transition between two entirely different reverb sounds. [INF] and
[FREEZE] are available on both decay knobs (Xnob for B-decay). During [FREEZE] the A/B
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mixer on [VRBMIX] is post for the frozen reverb – normally it is pre. This allows for a plethora of
options to freeze one of the reverbs, or both, and a mix of the two.
Reverb
[A-DCY] decay for reverb A in seconds or note-based in Tempo Mode
A Decay
adjusts the size of both reverbs A and B to give many different

Size [SIZE]
size combos with one knob
Reverb A pre-delay for reverb A in milliseconds or note-based in Tempo

[A-PDLY]
PreDelay Mode
Reverb A
[A-TONE] Tone control for reverb A
Tone Control
Reverb B
[B-TONE] Tone for reverb B
Tone Control
Reverb
[B-DCY] decay for reverb B in seconds or note-based in Tempo Mode
B Decay
Reverb B pre-delay for reverb B in milliseconds or note-based in Tempo

[B-PDLY]
PreDelay Mode
mixer for A and B reverbs, in stereo this mixes stereo channels,

Reverb A/
[VRBMIX] set at extreme results in dual mono reverbs (A on left, B on
Reverb B Mix
right)
Resonance mixer for A and B Tone controls. Affects the sound

Resonance [RESNCE]
unless [A-TONE] and [B-TONE] are both set to 0.
Reverse Reverb - [REVRVB]

A true reverse reverb followed by a forward reverb with delay and feedback. Turn [SIZE] and
[FEEDBACK] all the way down for a straightforward tempo-sync-able rush-up reverse reverb,
use [SIZE] to dial in a second reverb for increased wetness, and add [FEEDBACK] around the
whole thing for other-worldly ambiance. [INF] and [FREEZE] are available on the [SIZE] knob
and affects the forward reverb only.
8
reverse decay in milliseconds or note-based in Tempo Mode
Decay [DECAY]
(also the delay amount for [LATE])
mixes in a standard reverb that is post reverse section for

Size [SIZE]
bigger sounds
amount of delay feedback around reverse reverb (delay amount

Feedback [FEEDBK]
is DECAY amount)
Low Band
[LO-LVL] shelving boost/cut of low frequencies
Shelving Level
High Band
[HI-LVL] shelving boost/cut of high frequencies
Shelving Level
Late Dry adjusts amount of dry signal that occurs directly after the
[LATE]
Signal Level reverse build up
diffusion in the reverse build-up: set to zero for a mechanical

Diffusion [DIFFUS]
stutter
Modulation
[MODLVL] MicroPitch detuning modulation at the input
Level
increase the span between low and high crossover frequencies

Contour [CONTUR] for the [LO-LVL] and [HI-LVL]. Affects the sound unless [LO-
LVL] and [HI-LVL] are both set to 0.
ModEchoVerb - [MODEKO]
ModEchoVerb is based on a popular reverb structure from the Eventide H8000 that brought
about such presets as "Echo Space of God" and "Glorious Flange Canyon." It feeds the
output of an infinite reverb into an infinite feedback delay and slathers on an extra helping
of modulation. The modulation choices are H3000-type swept verb, flanging, or chorusing.
ModEchoVerb is incredibly versatile and can be used as a standalone reverb, delay, chorus/
flanger, or any combination of the three. [INF] and [FREEZE] are available on the [DECAY]
knob. During [FREEZE] the signal is rerouted to allow for parallel modulation/delay over the
frozen section. Have fun.
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decay in seconds or note based in tempo mode. All the way
Decay [DECAY]
right [INF] gives an infinite reverb/sustain
from normal Hall type room sizes to huge canyon sounds with
Size [SIZE]
echoes
post reverb delay time in milliseconds or note-based in tempo

Echo [ECHO]
mode
[LO-LVL]
Shelving Level 350 Hz
[HI-LVL]
Echo
[E-FDBK] feedback amount around the post reverb echo
Feedback
Modulation
[M-RATE] the modulation rate
Rate
Modulation
select modulation type and depth: swept reverb [SWEEP],
Type and [FX-MIX]
flanging [FLNGMX] or chorus [CHORMX].
Depth
Echo Tone [E-TONE] Tone control in the feedback loop of the echoes
BlackHole - [BKHOLE]
Larger than the Hall or Room, BlackHole is an Eventide H8000 classic capable of cathedral-
type spaces to out-of-this-world soundscapes. This H9 edition of BlackHole has two decay
modes (forward and inverse) and feedback around the entire reverb structure that extends the
Blackhole sound from huge to infinite. The standard [SIZE] and [GRVITY] sounds are epic, but
try [PREDLY] and [FEEDBK] to take the algorithm to the next level. Try not to get sucked in.
'Gravity' [INVGRV]/ [INVGRV]: Inverse decay mode of a really big reverb.

Mode Select [GRVITY] [GRVITY]: regular decay mode of a really big reverb
Size [SIZE] size of the reverb
10
Delay [PREDLY] pre-delay time in milliseconds or note-based in tempo mode
[LO-LVL]
[HI-LVL]
Modulation
[M-DPTH] the modulation depth
Depth
Modulation
[M-RATE] the modulation rate
Rate
feedback around the entire reverb structure for even larger

Feedback [FEEDBK]
sounds
resonance of the two shelving filters. Affects sound unless [LO-

Resonance [RESNCE]
LVL] and [HI-LVL] are both set to 0
MangledVerb - [MANGLD]
While the H9 can produce many beautiful sounds, we recognize the universe is a chaotic
and often violent place, so in the spirit of the yin and yang of it all, we included MangledVerb
from the Eventide Eclipse. Technically, MangledVerb feeds a non-standard stereo reverb into
distortion, but sonically it can range from the light friction of a bow scraping a cello string to the
mayhem of a caged beast being poked with a red hot flounder. Judicious use of the [WOBBLE]
and [ODRIVE] is approved, and try small [SIZE] and short [DECAY] for some surprising sounds.
arbitrary 1-100 decay (less decay will also take away reverb
Decay [DECAY]
attack)
size of the reverb (try less than 15 for some great distortion
Size [SIZE]
sounds)
Pre Delay [PREDLY] pre-delay time in milliseconds or note-based in tempo mode
Low Band
[LO-LVL] pre-distortion boost/cut of low frequencies
Level
11
High Band
[HI-LVL] pre-distortion boost/cut of high frequencies
Level
Softclip/
Overdrive [ODRIVE] the input level to one of two different types of distortions
Type
Distortion
[OUTPUT] the output level of the distortion
Output Level
Wobble [WOBBLE] a modulation rate that does some spooky detuning
Mid Band
[MIDLVL] pre-distortion boost/cut of mid frequencies
Level
TremoloVerb - [TREMLO]
TremoloVerb is a celestially large reverb cut back down to Earth size by an aggressive tremolo.
Use the Sine, Triangle, Peak, Ramp, or Square waves to create a rhythmic ambience; Random
and Sample/Hold to create a convulsing cloud; Envelope or ADSR to control the reverb with
your playing; or the Expression Pedal to control it with your foot.
Size [SIZE] room size of reverb
PreDelay [PREDLY] pre-delay time in milliseconds or note-based in tempo mode
[LO-LVL]
[HI-LVL]
Shelving Level [HIFREQ]
tremolo shape: [SINE], [TRIANG], [PEAK], [RANDOM],

Tremolo
[SHAPE] [RAMP], [SQUARE], [SMPHLD] (sample/hold), [ENVLOP],
Shape
[ADSR], or [EXPDL] (Expression Pedal)
Tremolo
[SPEED] tremolo speed in Hz, sensitivity, or note-based in tempo mode
Speed
12
Tremolo tremolo depth, in stereo mode you have the option to have
[MNDPTH],
Depth/Mono mono depth (same on both channels) or stereo depth (tremolo
[STDPTH]
or Stereo is 90 degrees out of phase)
High Band
the high corner frequency of [HI-LVL]. Affects the sound unless
Cutoff [HIFREQ]
[HI-LVL] is set to 0
Frequency
DynaVerb - [DYNAVB]
DynaVerb couples an Eventide Eclipse reverb with a model of the Eventide Omnipressor® to
create an adaptable dynamics reverb. The Omnipressor is capable of all types of dynamics
processing from gating, expansion, compression, limiting, and even its signature "dynamic
reversal," where loud signals are squashed, but quiet signals are amplified. In DynaVerb, the
Omnipressor can dynamically control the output of a reverberator based on, either the input
signal for maximum control, the reverb output for incredible chaos, or any mixture of the two. As
an added bonus DynaVerb can also be used as a standalone Omnipressor by setting [DECAY]
to zero.
decay in seconds or note-based in Tempo Mode, when decay

Decay [DECAY] is 0, this effect can be used as a standalone Omnipressor or
gate
Size [SIZE] room size of reverb
Attack Time [ATTACK] attack time of Omnipressor/gate in seconds
[LO-LVL]
[HI-LVL]
ratio control for the Omnipressor from traditional Gated sound,

Compression/
to expansion, then compression, then limiting and infinite
Expansion [ORATIO]
ducking, then to negative ratios which result in dynamic
Ratio
reversal.
13
Release Time [RELEAS] release time for the Omnipressor/gate in seconds
Threshhold [THRESH] threshold for the Omnipressor/gate
the mixer to sidechain input (gain control signal). When set

to minimum, the gain curve is derived from the input only. At
maximum, it is a feedback dynamics unit with gain derived from
Sidechain [SCHAIN]
the reverb output. In OMNIMODE, this simply lets you fade
between a feedforward (FF) and feedback (FB) compressor/
expander/gate/etc.
Shimmer - [SHIMMR]
We don’t have proof, but we’re pretty sure this is what the guitars sound like in heaven. Set the
[A-PCH] and [B-PCH] to just above and below 1200c, turn the [DELAY] all the way down, and
everything else all the way up. Oh, and remember to walk toward the light.
arbitrary 0-100 decay (less decay will also take away reverb
Decay [DECAY]
attack)
Size [SIZE] size of the reverb
post reverb and pre pitch-shift delay time in milliseconds or

Delay [DELAY]
note-based in tempo mode
Low Band amount of post reverb and pitch-shifter low band signal (this is
[LO-DCY]
Decay in the feedback path)
High Band amount of post reverb and pitch-shifter high band signal (this is
[HI-DCY]
Pitch-shifter A pitch in cents (500c=P4th, 700c=P5th, 1200c=1

Pitch Shift A [PICH-A]
Octave, 1900=1 Octave+P5, 2400=2 Octaves)
Pitch-shifter B pitch in cents (500c=P4th, 700c=P5th, 1200c=1

Pitch Shift B [PICH-B]
Octave, 1900=1 Octave+P5, 2400=2 Octaves)
14
The PITCH-DECAY knob controls the amount of pitch shifting
in the reverb tail. It increases from 0 to 100. Beyond 100
are two FREEZE modes. PITCH FREEZE locks out the
Pitch Decay [PITCH] pitch shifters, but feeds the reverb, allowing you to freeze
the Shimmer pitch climb at opportune times. PITCH+VERB
FREEZE freezes everything (pitch and reverb) for dry soloing
on top of the frozen reverb.
Mid Band amount of post reverb and pitch-shifter mid band signal (this is
[MIDDCY]
15
PitchFactor Algorithms
Ten distinctive pitch-based algorithms – Diatonic, Quadravox, HarModulator, Micro-Pitch, H910/
H949, PitchFlex, Octaver, Crystals, HarPeggiator, and Synthonizer.
Performance Switch
The action of the Performance Switch depends on which PitchFactor algorithm is currently
running. The Performance Switch can be activated by MIDI CC, Auxiliary Switch or by using H9
Control.
Pitch-based parameters, such as pitch shift, are in cents. One cent is 1/100th of a semitone
interval. Positive values make the pitch go up, and Negative values make the pitch go down. For
example, “500” cents is a Perfect 4th up and “-500” cents is a Perfect 4th down. Some common
values are: 700 cents = Perfect 5th, 1200 cents = 1 Octave, 1900 cents = 1 Octave + Perfect
5th, and 2400 cents = 2 Octaves.
Diatonic - [DTONIC]
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
PitchA/B control knobs to set each pitch interval. Use the Control Knobs to select the key, scale
and interval.
Using H9 Control (or if you’ve connected an AUX Switch), you can use Learn mode to set the
key. See SYSTEM Mode section of the H9 User Guide for details on setting up an AUX Switch.
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 [MIX] wet/dry mixer, 100% is all wet signal.
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
Pitch A/
[PICHMX] continue on A or B and not be affected by new audio when the
Pitch B Mix
Pitch Mix control is turned completely to the opposite channel.
This allows you to create a mini 'looper' effect.
Pitch Shift A [PICH-A] Selects the harmonic interval (pitch shift) for Pitch A
16
Pitch Shift B [PICH-B] Selects the harmonic interval (pitch shift) for Pitch B
Controls the amount of time delay of the A pitch shifted output.

With Tempo OFF, delay is displayed in mSec. With Tempo
Delay A [DLY-A]
ON, delay can be sync’d to the tempo and is displayed as a
rhythmic sub-division of the tempo beat value.
Controls the amount of time delay of the B pitch shifted output.

Delay B [DLY-B]
Key [KEY] Selects the key.
Selects the scale. The supported scales are: [MAJ]-Major,

[min]-Minor, [DOR]-Dorian, [PHRG]-Phrygian, [LYD]-Lydian,
Scale [SCALE] [MLYD]-Mixolydian, [LOC]-Locrian, [Hmin]-Harmonic Minor,
[Mmin]- Melodic Minor, [Wton]-Whole Tone, [ENIG]-Enigmatic,
[NPLT]-Neapolitan, [HUNG]-Hungarian.
Controls level of voice A Feedback. The feedback delay length

Feedback A [FBK-A] is the length of either Delay A or Delay B, whichever is longer,
to make sure both voices fade out simultaneously.
Controls level of voice B Feedback. The feedback delay length

Feedback B [FBK-B] is the length of either Delay A or Delay B, whichever is longer,
to make sure both voices fade out simultaneously.
Performance Switch / LEARN MODE - Press and hold the Learn switch while playing a note
and the H9 will set the key to that note.
Quadravox - [QUADVX]
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: It’s 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.
17
Controls the ratio of level Pitch A+C to Pitch B+D. With the
Pitch A and knob set full counter-clockwise, PitchA + PitchC are set to
C/Pitch B [PICHMX] equal level. Full clock-wise, sets Pitch B + Pitch D to equal
and D Mix 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.
Selects the harmonic interval (pitch shift) for Pitch A. Set to

minimum to turn OFF voice A.
Selects the harmonic interval (pitch shift) for Pitch B. Set to

minimum to turn OFF voice B.
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
Delay D [DLY-D]
D the longest. The Delay D control is used to set the last delay.
Delay Select the grouping of the four delays (A, B, C, D). The delays
[DLYGRP]
Grouping can be evenly spaced or spread out.
Key [KEY] Selects the key.
Selects the scale. The supported scales are: [MAJ]-Major,

[min]-Minor, [DOR]-Dorian, [PHRG]-Phrygian, [LYD]-Lydian,
Scale [SCALE] [MLYD]-Mixolydian, [LOC]-Locrian, [Hmin]-Harmonic Minor,
[Mmin]- Melodic Minor, [Wton]-Whole Tone, [ENIG]-Enigmatic,
[NPLT]-Neapolitan, [HUNG]-Hungarian.
Selects the harmonic interval (pitch shift) for Pitch C. Set to

Pitch Shift C [PICH-C]
minimum to turn OFF voice C.
Selects the harmonic interval (pitch shift) for Pitch D. Set to

Pitch Shift D [PICH-D]
minimum to turn OFF voice D.
Performance Switch / LEARN MODE - Press and hold the Learn switch while playing a note
and the H9 will set the key to that note.
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HarModulator - [HARMNY]
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.
Pitch A/
[PICHMX] Controls the ratio of the level of Pitch A to Pitch B.
Pitch B Mix
Selects the pitch shift interval in semitone increments from

down three octaves to up three octaves.
Selects the pitch shift interval in semitone increments from

down three octaves to up three octaves.
Controls the amount of time delay of the A pitch shifted output.

Delay A [DLY-A]
Controls the amount of time delay of the B pitch shifted output.

Delay B [DLY-B]
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
Modulation
[M-DPTH] displayed in cents, ranging from -30 to +30 cents. When the
Depth
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.
19
Controls the modulation rate. Note: If Envelop is selected as
Modulation the Mod Shape [SHAPE], then modulation is driven by the
[M-RATE]
Rate amplitude of the audio input and Modulation Rate [M-RATE]
becomes a Sensitivity [SENS] control.
Modulation Selects the modulation shape. Select Envelop and your playing
[SHAPE]
Shape will drive the pitch modulation.
Feedback [FEEDBK] Controls the amount of feedback for Delays A and B.
Performance Switch / FLEX - Shifts both voices up one octave.
MicroPitch - [MICRO]
Fine-resolution pitch shifter for subtle tone-fattening plus delays for interesting slap back effects.
Pitch A/
Pitch B Mix
Pitch Controls the amount of pitch shift up for voice A from Unison to
[PICH-A]
Shift Up A +50 cents.
Pitch Shift Controls the amount of pitch shift down for voice B from Unison
[PICH-B]
Down B to -50 cents.
Controls the amount of time delay of the A pitch-shifted output.

Delay A [DLY-A]
Controls the amount of time delay of the B pitch-shifted output.

Delay B [DLY-B]
Controls the amount (or depth) of pitch modulation around the

Modulation current pitch for each voice. A value of 100 represents a bipolar
[M-DPTH]
Depth full swing of the modulation from 0 cents to 2x Pitch. Lesser
values scale proportionally.
20
Modulation
[M-RATE] Controls the modulation rate.
Rate
Feedback [FEEDBK] Controls the amount of feedback for Delays A and B.
Tone Control [TONE] Controls the tone filter.
Performance Switch / FLEX - Doubles the pitch shift amount of both voices.
H910/H949 - [910.949]
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. Also note
that these recreations offer ten times the maximum delay of the original gear.
Pitch A/
Pitch B Mix
Pitch Controls the amount of pitch shift for voice A expressed as a

[PICH-A]
Shift Up A ratio.
Pitch Shift Controls the amount of pitch shift for voice B expressed as a
[PICH-B]
Down B ratio.
Controls the amount of time delay of the A pitch-shifted output.

Delay A [DLY-A]
21
Controls the amount of time delay of the B pitch-shifted output.
Delay B [DLY-B]
Selects the type of Harmonizer emulated [H910], [H949-1],

[H949-2] and [MODERN]. The H949 offered two splicing
algorithms. Algorithm 1 created a ‘soft’ gradual splice. Algorithm
2 analyzed the audio and used an intelligent splicing algorithm
that was successful in greatly reducing glitching. You can
select each of these algorithms and emulate their classic
sounds. Of course, given the many orders of magnitude
Splice Type [TYPE]
increase in DSP power since the days of the H910/H949, even
greater intelligence can be brought to bear in de-glitching.
The [MODERN] pitch shifting algorithm takes advantage of its
powerful DSP to further improve de-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
Selects the type of pitch ratio control for Pitch A and Pitch B
Pitch Coarse/ knobs. Normal allows continuous control as a pitch ratio. Micro
[P-CNTL]
Fine Control allows for fine adjustments around Unison. Chromatic allows
you to select intervals equal to the 12 note per octave scale.
Pitch A
[FDBK-A] Controls the amount of feedback for Delay A.
Feedback
Pitch B
[FDBK-B] Controls the amount of feedback for Delay B.
Feedback
Performance Switch / REPEAT - Press and hold for infinite repeat.
PitchFlex - [PCHFLX]
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.
22
Pitch A/
Pitch B Mix
Set Pitch
Sets pitch shift of voice A in the heel position. When 'OFF' is
A with Exp
[HEEL-A] selected, the voice is muted at the heel position and the pitch is
Pedal in
set to unison.
Heel Position
Set Pitch
Sets pitch shift of voice B in the heel position. When 'OFF' is
B with Exp
[HEEL-B] selected, the voice is muted at the heel position and the pitch is
Pedal in
set to unison.
Heel Position
These parameters are for use when using an Auxiliary Switch

Heel-to-toe to control the pitch change effect for voices A and B. Sets the
[HTGLIS]
glissando time to move from 'heel' to 'toe.'' In Tempo Mode maximum is ½
note.
Parameters for use when using an Auxiliary Switch to control

the pitch change effect for voices A and B. The Delay A knob
Toe-to-heel
[THGLIS] sets the time to move from the virtual 'toe' to the virtual 'heel.'
glissando
The Delay B knob sets the time to move from 'heel' to 'toe.' In
tempo Mode maximum is ½ note.
Low Pass
[LPF] A low pass filter to 'darken' the effect.
Filter
Controls the 'shape' that the pitch modulation follows when

using the Flex Switch. If set to Negative values, the pitch goes
Glissando
[SHAPE] slowly towards “Toe” and quickly transitions to “Heel”, Positive
Shape
is the other way around, and 0 means the pitch shifts up and
down linearly.
Set Pitch A Sets voice A’s pitch shift in the toe position. When 'OFF' is
with Exp Pedal [TOE-A] selected, the A pitch shifter is disabled at the toe position and
in Toe Position toe is treated as unison.
Set Pitch B Sets voice B’s pitch shift in the toe position. When “OFF” is
with Exp Pedal [TOE-B] selected, the B pitch shifter is disabled at the toe position and
in Toe Position toe is treated as unison.
Performance Switch / FLEX - Sweep the pitch shift from MIN to MAX of HOTKNOB.
Octaver - [OCTAVE]
23
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. Tempo cannot be used with
this effect.
Sub- Controls mix of 1st and 2nd sub-harmonics (A and B). Note that
[SUB-MX]
Harmonic Mix Inputs 1 and Inputs 2 are not mixed.
Filter Center
[CNTR-A] Controls the center frequency of the resonant filter for A.
Frequency A
Filter Center
[CNTR-B] Controls the center frequency of the resonant filter for B.
Frequency B
Controls filter resonance for A. Note: After adjusting the

Filter
[RESN-A] filter’s center frequency and resonance, you may want to try
Resonance A
modulating the filter.
Filter
[RESN-B] Controls filter resonance for B.
Resonance B
Octaver allows your playing to vary the center frequency of

Envelop
[ENVLOP] the filters. This control adjusts the degree to which the input
Filter Shift
signal’s envelop shifts the filter’s center frequency.
Envelop Controls the sensitivity of the frequency sweeps to the input

[SENSE]
Sensitivity signal level.
Distortion [FUZZ] Controls the amount of distortion (fuzz).
Octave-
[OCT-MX] Controls the mix of octaves and fuzz.
Fuzz Mix
Performance Switch / NONE - Unused
Crystals - [CRYSTL]
24
Crystals is a classic Eventide effect – twin reverse pitch changers, with independently adjustable
delays and feedback with added reverb.
Pitch A/
[PICHMX] Controls the ratio of the level of Pitch A to Pitch B
Pitch B Mix
Controls the amount of pitch shift for A in cents (1 cent =

1/100th of a semitone).
Controls the amount of pitch shift for B in cents (1 cent =

1/100th of a semitone).
Controls the length of the reverse time buffer for A. With Tempo
Reverse OFF, delay is displayed in mSec. With Tempo ON, delay can
[RDLY-A]
Delay Buffer A be sync’d to the tempo and is displayed as a rhythmic sub-
division of the tempo beat value.
Controls the length of the reverse time buffer for B. With Tempo
Reverse OFF, delay is displayed in mSec. With Tempo ON, delay can
[RDLY-B]
Delay Buffer B be sync’d to the tempo and is displayed as a rhythmic sub-
division of the tempo beat value.
Reverb
[VRB-MX] Selects the Reverb Mix level.
Mix Level
Reverb
[VRB-DC] Selects the Reverb Decay rate.
Decay Rate
Feedback A [FBK-A] Controls level of Feedback A.
Feedback B [FBK-B] Controls level of Feedback B.
HarPeggiator - [HARPEG]
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
25
HarPeggiator lets you choose from a list of pre-programmed sequences for pitch, rhythm and
effect and 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.
Note: If MIDI clock and Tempo are both set to ON, the sequencer will not progress through the
steps until a MIDI clock signal is applied.

Arpeggiator
A/Arpeggiator [ARP-MX] Controls the ratio of arpeggiator A to arpeggiator B.
B Mix
Pitch
[SQNC-A] See the description for Pitch Sequence B.
Sequence A
These controls select one of 27 pitch sequences for A/B. The

pitch sequences are selectable presets numbered from [01] to
[26] plus random [RANDOM]. Set to minimum [ARPOFF] to turn
off the pitch effect.
For the majority of pitch sequences each step is a fixed pitch

however the H9 has the ability to glide the pitch within any step
and this feature is used in several of the sequences. The last
sequence [RANDOM] is a random sequence of pitches.
Pitch
[SQNC-B]
Sequence B When selecting pitch sequences, it is best to first turn OFF
both Rhythm and FX 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.
26
• 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
27
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 1oct = one octave, 2oct = 2 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
4 +1oct -1oct +P5 -P4 -1oct -1oct -2oct
5 +1oct -1oct +P5 -P4 unison Unison -1oct
8 +1oct -1oct +P5 -P4 -1oct Unison -1oct
9 +1oct -1oct +P5 -P4 unison +1oct unison
12 +1oct -1oct +P5 -P4 -1oct +1oct unison
13 +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 ↑
28
8 9 10* 11 12* 13* 14*
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
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
12 +1oct +1oct unison unison +P4 +P5 +P5
13 +1oct unison unison +P5 ↓ +P5 +P4 +P4
29
15* 16* 17* 18* 19 20 21
↓
15 +m6 ↓ unison unison unison +M7 +M2 +m3
16 +M3 ↓ unison unison unison +1oct Unison +M2
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 ↑
Rhythm A [RYTH-A] See the description for Rhythm B.
These controls select the rhythm/groove sequence for A/B.

The rhythm sequences are a set of 21 selectable presets. The
level of the signal at each step is graphically represented in the
Harpeggiator algorithm's custom UI in H9 Control on desktops/
Rhythm B [RYTH-B] tablets. Set the control to minimum to [GRVOFF] to turn off the
rhythm sequence. The pitch sequences are numbered from [01]
to [20] and [RANDOM] for the random rhythm. With the rhythm
sequence turned OFF, all sixteen steps of the sequence are
played at full amplitude.
30
Sets attack and release time for the dynamics of the Rhythm
and Effects. When set to minimum (-10), the audio takes the
Dynamics entire step length to fade in; at mid-range (0), the audio is
(Attack/ [DYNAM] present for the entire step duration; and at maximum (10), the
Release Time) 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.
With Tempo OFF, sets the length of each of the 16 steps in

Step Length [LENGTH] mSec. With Tempo ON, sets the length of each step relative to
the tap tempo (length of note e.g. whole, quarter, etc.).
Effect A [FX-A] See the description for Effect B.
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 - [FILT]=FILTER, [FUZZ]=FUZZ, and
[GLT]=Glitch. [ALL] indicates that the preset uses all three
Effect B [FX-B] effect types. 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 – [RNFL]=random
filters, [RNFZ]=random fuzz, [RNGL]=random glitches and
[RNM]=random combination of filters, fuzz and glitches. Set
[FX:OFF] to turn Off effects for all steps in the sequence.
Performance Switch / RESTART - Restarts the sequence from the beginning.
Synthonizer - [SYNTH]
Synthonizer tracks the pitch of the note that you’re playing and generates a synthesized tone at
the same pitch. Voice A is an additive synthesizer useful for creating organ or Theremin-style
sounds; Voice B is a subtractive synthesizer for creating classic analog-style synth sounds.
Note: Tempo cannot be used with this effect.
Note: Synthonizer is Mono In only. Use Input 1. Input 2 is disabled.
31
Voice A/
[VOX-MX] Controls the ratio of the two synthesized voices A and B.
Voice B Mix
Controls the mix of the various added waveforms to control the

Waveform Mix [WVE-MX]
tone and perceived pitch of voice A.
Controls the blend between unison, 1 octave down, and 1

Octave Blend [OCTVES] octave up synth voices to control the tone and perceived pitch
of voice B.
Attack Time
[ATTK-A] Controls the attack time for synthesized Voice A.
Voice A
Attack Time
[ATTK-B] Controls the attack time for the filter on synthesized voice B.
Voice B
Reverb Level [VRBLVL] Sets the reverb level.
Reverb
[VRBDCY] Sets the reverb decay time.
Decay Time
Waveshape Selects voice A waveshape – Sine [SIN], Triangle [TRI],

[SHAPE]
Voice A Sawtooth [SW], Organ1 [OR1], Organ2 [OR2].
Controls the sweepable filter on voice B. Values from 0-50

Filter Sweep
[SWEEP] sweep a low-pass filter, values greater than 50 sweep a high
Voice B
pass filter.
32
TimeFactor Algorithms
Digital Delay - [DIGDLY]
Twin 3 second delays with independent delay time and feedback controls.
Controls the relative level of the twin delays, Delay A and

Delay B. The H9 has circuitry that detects which input/output
jacks are being used and adjusts the routing of signals through
the Effects algorithm accordingly. Dly Mix’s mixing behavior
depends on whether you’re using mono or stereo outputs. For
Mono Out, with [DLYMIX] = A10+B0, output 1 will have only
Delay A’s contribution. With [DLYMIX] = A10+B10, Output 1
Delay Mix [DLYMIX]
has an equal amount of Delay A and Delay B. With [DLYMIX]
= A0+B10, Output 1 will have only Delay B’s contribution. For
Stereo output, with [DLYMIX] = A10+B0, BOTH outputs will
have only Delay A’s contribution. With [DLYMIX] = A10+B10,
Delay A goes to Output 1 only and Delay B goes to Output 2
only. With [DLYMIX] = A0+B10, BOTH outputs will have only
Delay B’s contribution.
Sets delay time for Delay A output B from 0 to 3000 ms

(milliseconds). With Tempo OFF, delay is displayed in mSec.
With Tempo ON, delay can be sync’d to the tempo and
Delay A [DLY-A]
is displayed as a rhythmic sub-division of the tempo beat
value - changing this from 0 to a whole note in common note
increments.
Delay B [DLY-B] Same as A.
Feedback A [FBK-A] Controls level of Feedback A, the number of repeats.
Feedback B [FBK-B] Same as A.
When delays change, performs a crossfade function to prevent

abrupt changes that could result in glitching or clicking.
Crossfade [XFADE] [XFADE] sets the speed of the crossfade. Small values result
in fast crossfades, larger values more gradual crossfades.
Crossfade rates vary from 2 ms to 200 ms.
33
Modulation
[DEPTH] Selects the amount of delay modulation (0=OFF, 10=MAX).
Depth
Modulation
[SPEED] Sets the delay modulation rate (0-5Hz).
Speed
A low pass/high cut filter variable from 0 (no filtering) to 100

Filter [FILTER]
(extreme hi cut) to change the tone of your delay repeats.
Vintage Delay - [VNTAGE]

Simulates the sound of analog and digital delays from days gone by. To simulate a range of
delay devices from the past, a 'BITS' parameter simulates the effect of primitive analog-to-digital
converters. Anyone remember when it was a 10 bit world? The delays can be modulated to
achieve chorusing or more extreme effects. A filter parameter controls the tone of the delayed
signals.

Mono Out, with [DLYMIX] = 0, output 1 will have only Delay
Delay Mix [DLYMIX] A’s contribution. With [DLYMIX] = 50%, Output 1 has an equal
amount of Delay A and Delay B. With [DLYMIX] =100, Output
1 will have only Delay B’s contribution. For Stereo output,
with [DLYMIX] = 0, BOTH outputs will have only Delay A’s
contribution. With [DLYMIX] = 50, Delay A goes to Output
1 only and Delay B goes to Output 2 only. With [DLYMIX] =
100%, BOTH outputs will have only Delay B’s contribution.

Delay A [DLY-A]
increments.
34
Selects the number of bits of resolution. Early digital delays

used analog to digital converters with limited resolution. Theory
predicts that each bit equals 6 dB of resolution; so that an 8
Bits [BITS]
bit converter would deliver, at best, a mere 48 dB of dynamic
range. VintageDelay simulates the effects of limited resolution -
the sound of nasty digital noise from years gone by.
Modulation
Depth
Modulation
Speed
Controls the filter to simulate the tone of band-limited old school

Filter [FILTER]
delays.
Tape Echo - [TAPE]

Simulates the hiss, wow and flutter of analog tape delay. The earliest delays were achieved
using tape machines - record on one magnetic 'head' and playback a bit later on second
magnetic head. Magnetic tape can be driven into its own unique kind of distortion. Tape Echo's
saturation control allows you to adjust the amount. The Wow and Flutter control simulates the
effect of the tape transport moving the tape in at a less than absolutely smooth, constant rate.

Delay Mix [DLYMIX] Mono Out, with [DLYMIX] = 0, output 1 will have only Delay
A’s contribution. With [DLYMIX] = 50%, Output 1 has an equal
35

Delay A [DLY-A]
increments.
Simulates analog tape saturation. Ranges from ‘0’ (none) to

Saturation [SATUR] ‘10’ (max) for the warm compression and distortion associated
with overdriven tape.
Simulates analog tape Wow. Wow is a term used to describe

relatively slowly changing pitch and amplitude modulations
caused by problems with the motor or tape transport that
Tape Wow [WOW]
causes the tape’s motion across the head to vary. A well
maintained tape recorder should have no audible Wow. Ranges
from ‘0’ (none) to ‘10’ (max).
Simulates tape machine Flutter. Like Wow, Flutter is caused

when the tape motion across the magnetic heads isn’t constant.
Tape Flutter [FLUTTR]
Flutter is a more rapidly changing variation than Wow. Ranges
from 0 (no flutter) to 10 (max flutter).
Controls the filter characteristics to simulate tape recorder

Filter [FILTER] frequency response. As you increase the filter value, you’ll hear
a more pronounced tape tone.
Mod Delay - [MODDLY]

Modulated delays – great for creating chorus effects and chorused delays.
36


Delay A [DLY-A]
increments.
Selects the modulation wave shape as displayed by the

Modulation Billboard display. There are two choices for each wave shape.
[SHAPE]
Wave Shape The single waveforms modulate the two delays in phase and
the double waveforms modulate the two delays out of phase.
Modulation
Depth
Modulation
Speed
A low pass/high cut filter variable from -100 (extreme low cut) to
Filter [FILTER]
0 (no filtering) to 100 (extreme high cut).
37
Ducked Delay - [DUCKER]
The delay levels are dynamically lowered while you’re playing and restored to their normal
levels when you stop playing.

Sets delay time for Delay A output from 0 to 3000 ms

Delay A [DLY-A]
increments.
Sets the ducking ratio or the degree to which the delay is

Ducking Ratio [RATIO]
attenuated.
Sets the ducking threshold - the audio amplitude - at which

Threshold [THRSHD]
ducking kicks in (-36 dB to -66 dB).
Sets the release time from 500 to 10 msec. With the release
Release Time [RELEAS] time set to short values, the delay will kick in quickly when you
stop playing. With the release time set to longer values, the
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delay will stay ducked for a while. Longer release times are
useful when you’re playing a riff and don’t want the delay to kick
in between notes.

Filter [FILTER]
(extreme hi cut).
Band Delay - [BNDDLY]

Delays are followed by user selectable modulated filters.

Mono Out, with [DLYMIX] = A10+B0, output 1 will have only
Delay A’s contribution. With [DLYMIX] = A10+B10, Output 1
Delay Mix [DLYMIX]
has an equal amount of Delay A and Delay B. With [DLYMIX]
= A0+B10, Output 1 will have only Delay B’s contribution. For
Stereo output, with [DLYMIX] = A10+B0, BOTH outputs will
have only Delay A’s contribution. With [DLYMIX] = A10+B10,
Delay A goes to Output 1 only and Delay B goes to Output 2
only. With [DLYMIX] = A0+B10, BOTH outputs will have only
Delay B’s contribution.
Sets delay time for Delay A from 0 to 3000 ms (milliseconds).

Delay A [DLY-A] ON, delay can be sync’d to the tempo and is displayed as a
rhythmic sub-division of the tempo beat value - changing this
from 0 to a whole note in common note increments.
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Sets the resonance or sharpness of the filter. Varies from 0
Resonance [RESNCE]
(subtle effects) to 10 (dramatic resonance effects).
Modulation Sets the amount that the filter cut-off or center frequencies are
[DEPTH]
Depth modulated/shifted.
Modulation Sets the modulation rate for the filter center frequencies
[SPEED]
Speed (0-5Hz).
Filter [FILTER] Select filter type – Low Pass, Band Pass or Hi Pass.
Filter Pong Delay - [FLTDLY]

The dual delays ping pong between the outputs with filter effects added for good measure.
Controls the relative level of the twin delays, Delay A/Delay

B. The H9 has circuitry that detects which input/output jacks
are being used and adjusts the routing of signals through the
Effects algorithm accordingly. [DLYMIX]’s mixing behavior
Mono Out, with [DLYMIX] = 0, Out 1 will have only Delay A’s
Delay Mix [DLYMIX] contribution. With [DLYMIX] = 50%, Out 1 has an equal amount
of Delay A and Delay B. With [DLYMIX] =100, Out 1 will have
only Delay B’s contribution. For Stereo output, with [DLYMIX]
= 0, BOTH outputs will have only Delay A’s contribution. With
[DLYMIX] = 50, Delay A goes to Out 1 only and Delay B goes
to Out 2 only. With [DLYMIX] = 100%, BOTH outputs will have
only Delay B’s contribution.
Sets delay time for Delay A output from 0 to 3000 mSec.

Delay A [DLY-A] ON, delay can be sync’d to the tempo and is displayed as a
rhythmic sub-division of the tempo beat value - changing this
from 0 to a whole note in common note increments.
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Controls level of Feedback A, the number of repeats. The
FilterPong Effect is created by cross connecting the feedback
Feedback A [FBK-A]
paths of the twin delays. As a result, only a single feedback
control is needed.
Controls the diffusion (SLUR) of the repeats. With low diffusion

Diffusion (Slur) [SLUR]
the repeats are discrete. Increasing diffusion slurs the repeats.
Modulation
[SHAPE] Selects the 'shape' of the filter modulation.
Wave Shape
Modulation
[DEPTH] Sets the filters’ amount of frequency modulation.
Depth
Modulation
[SPEED] Speed multiplier for filter modulation.
Speed
Filter [FILTER] Controls the mix of dry/filtered signal input to ping-pong delay.
MultiTap - [MULTAP]
10 delay taps with controls for delay time, diffusion, tap levels and tap spacing.

Effects algorithm accordingly. [DLYMIX]’s mixing behavior
Delay Mix [DLYMIX] contribution. With [DLYMIX] = 50%, Out 1 has an equal amount

Delay A [DLY-A] (milliseconds). With Tempo OFF, delay is displayed in mSec.
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increments.
Controls the diffusion (SLUR) of the repeats. With low diffusion

Diffusion (Slur) [SLUR]
the repeats are discrete. Increasing diffusion slurs the repeats.
Sets the relative level (taper) of the taps. With TAPR = -10, the
Delay Tap 1st tap is the quietest and the last tap loudest. With TAPR = 0,
[TAPER]
Taper all taps are equally loud. With TAPR = 10, the 1st tap is loudest
and the last tap quietest.
Sets the spacing between taps from 0 (spacing increases with

Delay Tap
[SPREAD] increasing delay) to 5 (taps are equally spaced) to 10 (spacing
Spacing
between taps decreases with increasing delay).
A tone control filter that reduces high frequencies to darken the

Filter [FILTER]
ambient sounds that you create.
Reverse - [REVERS]
Reverse audio effects. Audio is broken into segments, are played backwards and spliced.
Crossfading at the splice points prevents nasties. XFADE controls the length of the crossfade.
Small values result in fast crossfades adding an audible rhythm to the effect. Larger values
result in long crossfades and a smoother reverse sound.

Delay Mix [DLYMIX] Effects algorithm accordingly. [DLYMIX]’s mixing behavior
contribution. With [DLYMIX] = 50%, Out 1 has an equal amount
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Sets delay time for Delay A output. With Tempo OFF, delay is
displayed in mSec. With Tempo ON, delay can be sync’d to the
Delay A [DLY-A] tempo and is displayed as a rhythmic sub-division of the tempo
beat value - changing this from 0 to a whole note in common
note increments.
Sets delay time for Delay B output. With Tempo OFF, delay is
displayed in mSec. With Tempo ON, delay can be sync’d to the
Delay B [DLY-B] tempo and is displayed as a rhythmic sub-division of the tempo
beat value - changing this from 0 to a whole note in common
note increments.
In Reverse, the audio segments are read backwards and

must be spliced. Crossfades occur at the splice point to
prevent abrupt changes that could result in glitching or clicking.
[XFADE] sets the rate of the crossfade. Small values result
Crossfade [XFADE]
in fast crossfades and a more audible rhythm for the reverse
effect, larger values more gradual crossfades and a smoother
reverse sound. Crossfade rate (XFADE) is variable from 2 ms
to 200 ms.
Modulation
[DEPTH] Selects the amount of modulation (0=OFF, 10=MAX).
Depth
Modulation
Speed

Filter [FILTER]
(extreme hi cut).
Looper - [LOOPER]
The Looper provides 12 seconds of mono recording at full audio quality and up to 48 seconds at
reduced audio quality. Salient features are: loop recording in seconds or beats, variable speed
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scrubbing during playback and dubbing (including reverse playback and dubbing), seamless
dubbing, real-time adjustment of the loop starting point and loop length, and fullfeatured
MIDICLK sync.
If your H9 is connected to a stereo source, the inputs are automatically summed and the sum is
the Looper’s input. The Looper’s output drives both outputs identically.
Since the Looper runs on both TimeFactor and H9, and the H9 utilizes a Two-Footswitch UI
as opposed to the Timefactor’s Three-Footswitch UI, the Looper transport controls (Record
● , Play ► and Stop ■ ) have been adapted to run as seamlessly as possible on the H9. The
original Timefactor functionality of the Three-Footswitch transport controls is still available
via Aux Switch or MIDI CC. Footswitch operation is first discussed in the section 'H9 Looper
FootSwitch Operation', followed by 'Looper Control Parameters', 'Tempo Mode and MIDI Clock
Sync', and 'MIDI CC and Aux Switch Designations'.
H9 Looper Footswitch Operation
Loading a Looper Preset on H9 will always place the H9 directly into Looper Mode. Looper
Mode specifically defines the action of the two Footswitches on the H9. With the Looper
algorithm loaded on the H9 (i.e. running a Looper Preset), you can always toggle back to H9
Preset Mode (and vice-a-versa) by pressing and holding the Right Footswitch.
Looper presets can be loaded one of four ways:
• Via H9 Control app

• By toggling through presets with the Right footswitch with H9 in Preset Mode, and using the
Left Footswitch to load a Looper Preset
• By hitting the PRESETS button on H9 and turning the Encoder to a Looper Preset for auto-
loading
• By hitting the PRESETS button twice and turning the Encoder to auto-load the default
Looper Algorithm Preset.
The Looper can be in one of the following states:
• Empty
• Recording
• Playing
• Dubbing
• Stopped
Note: After a Looper Preset is loaded, the H9 will be in Looper mode, and the Looper State will
be Empty.
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In the H9, the three standard transport controls, Record ●, Play ► and Stop ■, are mapped
to the two Footswitches (as described below), the Left Footswitch (LFSW) and the Right
Footswitch (RFSW). While in Looper Mode, the Footswitches, LEDs, and Display will have the
following actions, listed for each Looper State:
Empty
When the Looper is first loaded, the loop is Empty, the Display shows [EMPTY], the Active LED
is not lit, the Tap LED is off for Tempo Mode OFF or blinks at the BPM rate for Tempo Mode
ON, and the Footswitches do the following:
• LFSW ● – Press to Start Recording. If autoplay mode is selected [AP:LOOP], loop

playback will start when recording reaches the loop end.
• RFSW (no transport function) – Used to tap tempo if Tempo Mode is ON. While Tapping,
the Display shows the current BPM, when tapping stops the display reverts to [EMPTY].
Recording
While recording, the Display shows the running record time [R>00.00] or beat count [R>(beats)],
the Active LED is flashing, the Tap LED is not lit, and the Footswitches do the following:
• LFSW ► – Press to create Loop End and start Playing from Loop Start. The Play Mode
setting determines if the Loop is played once or continuously.
• RFSW ■ – End recording and stop.
Playing
While Playing, the Display shows the running play time [P>00.00] or beat count [P>(beats)], the
Active LED is lit, the Tap LED is not lit, and the Footswitches do the following:
• LFSW ● – Start Dubbing at the current Loop time. The Dub Mode setting determines if this
switch latches to Dub [LATCH] or press/holds to Dub [PUNCH]. The Dub Mode setting also
determines if the new audio is added to or replaces the previously recorded audio.
• RFSW ■ – Stop Playing.
Dubbing
While Dubbing, the Display shows the running time [D>00.00] or beat count [D>(beats)], the
Active LED is flashing, the Tap LED is not lit, and the Footswitches do the following:
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• LFSW ● – Stop Dubbing while Playing continues. The Dub Mode setting determines how
the Loop is overdubbed. If Dub Mode is [PUNCH], press/hold is the only way to get to
Dubbing, and releasing the LFSW transitions back to Playing.
• RFSW ■ – End Dubbing and Stop Playing.
Stopped
While Stopped, the Display shows [STOP], the Active LED is not lit, the Tap LED flashes at
the BPM rate for Tempo Mode or is lit solid for Non-Tempo Mode, and the Footswitches do the
following:
• LFSW ► – Start Playing from Loop Start. The Play Mode setting determines if the Loop is
played once or continuously.
• RFSW (no transport function)– No action besides going to Preset Mode (press/hold) and
Clearing the loop (double tap).
Emptying the Loop
Double tapping the Right Footswitch during the Stopped State will clear the loop, and transition
Looper to the Empty State. This is the only way to record a new loop using the H9 Footswitch
interface. Alternatives that let you record a new loop from the Stopped state are using H9
Control, or an Aux Switch or MIDI CC programmed for the Looper Record action. Note: Double
Tapping to empty also applies to Stop on H9 Control or an Aux Switch assigned to the STP
command (See 'MIDI CC and Aux Switch Designations' for more info on Aux Switches).
Preset Mode
Pressing and holding the Right Footswitch, toggles between Looper and Preset Mode. Preset
Mode is for loading a new preset. When using the Looper, you should remain in Looper Mode.
In Preset Mode, the Footswitches do not operate as Looper transport controls. (Note: normal
Tap Mode Functionality of the Right Footswitch is disabled for Looper Presets).
Tuner Access
Pressing and holding both Footswitches puts the H9 in Tuner Mode and leaves Looper Mode.
Tuner Mode is only accessible when the Looper state is Empty.
Mix [MIX] Mix control between the Dry audio input and Looper playback.
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When the Loop is Empty, sets the Maximum allowed Loop
Length. Note that audio recording quality is degraded at slower
recording speeds (1/2X and 1/4X). The maximum loop length is
determined by the setting of the Speed parameter as follows:
Speed (+/-) 2X (+/-) 1X (+/-) 1/2X (+/-) 1/4X

Loop Max- Max Loop 6 sec 12 sec 24 sec 48 sec
[MAXLEN]
Length Length
The negative signs on the speeds above are for automatically

starting playback in reverse after recording a new loop.
When the Loop contains audio, the Max-Length parameter is
disabled.
When a Loop is in memory, this sets the Loop Start Point from
0 ms (or beat 1 for Tempo Mode ON) to Loop Length. The Loop
Loop Play- Play-Start Point is automatically set to 0 (or beat 1 for Tempo
[START]
Start Point Mode ON) at the beginning of a new loop. Note that Catchup
is always enabled to prevent the Start point from changing
abruptly. When the Loop is Empty, this parameter is disabled.
When a Loop is in memory, this sets the Loop Play-Length for

playback that begins at the Loop Start Point. In other words, if a
12 second Loop is recorded and the Loop Start Point is set to 2
seconds and the Loop Length is set to 4 seconds, the recorded
Loop will play from 2 seconds to 6 seconds into the 12 second
Loop. The PlayLength value is automatically reduced in cases
Loop Play- where the Play-Start Point moves past the currently set Play-
[PLYLEN]
Length Length.
The Loop Play-Length is automatically set to Loop Length at

the beginning of new loop. Note that Catchup is always enabled
to prevent the end point from changing abruptly. When the
Loop is Empty this parameter is disabled.
When dubbing you may want the original saved audio to persist
as you add new sounds. Of course, indefinitely adding new
Loop signals will eventually result in ‘mud’ (the “Crayola” effect).
[DECAY] The Decay Rate control allows the saved audio to fade as
Decay Rate
you dub new material. The Decay Rate is adjustable from 0%
[DCY: 0] to 100% [DCY:100]. When set to 0%, the loop never
decays. When set to 100% the previously saved audio decays
47
completely each time through the loop when dubbing. In other
words, the looped audio is only played once. The Loop Decay
Rate control has no effect on normal Playback, only dubbing.
There are four choices that determine the type of dubbing (Add
or Replace) and the action of the Footswitch control (Latch or
Punch).
To Dub, press the ● Footswitch while the loop is playing

or recording. The action of the ● Footswitch when dubbing
depends on the setting of the Dubbing Mode control.
If you want to simply press and release the switch to turn

dubbing on and off, set this control to one of the two Latching
modes. Dubbing will continue until you press ● (or press record
again to turn dubbing off).
On the other hand, you may prefer to Dub only while you’re
Dubbing Mode [DUB-MD]
pressing and holding the ● Footswitch. To do this, choose one
of the two Punch modes.
The Dubbing Mode choices are:
• [D:LATCH] – ● toggles Dubbing ON/OFF. Dubbed audio is

added to the looped audio.
• [D:PUNCH] – ● enables Dubbing while the footswitch is
held. Dubbed audio is added to the looped audio.
• [D:REPL-L] – ● toggles Dubbing ON/OFF. Dubbed audio
replaces looped audio.
• [D:REPL-P] – ● enables Dubbing while the footswitch is
held. Dubbed audio replaces looped audio.
Playback mode affects three actions of the Looper: the action

when Recording reaches Max-Length, the action when Playing
reaches the Play-Length, and the action of the ► switch (Note:
for H9 this ► switch functionality is only available via H9
Control, Aux Switch, or MIDI).
Playback
[PLY-MD] [P:ONCE] – Enters STOPPED state when recording
Mode •
reaches Max-Length. During Playback, the audio will Stop
when it reaches Play-Length, and ►at any point initiates
playing the loop just one time from the loop’s start point
• [P:LOOP] – Enters STOPPED state when recording
reaches Max-Length. During Playback, the audio
loops around to the loop's start point when it reaches
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PlayLength, and ►at any point initiates playing
continuously from the loop’s start point.
• [AP:LOOP] – When recording reaches the Max-Length,
loop begins playing automatically and plays continuously.
During Playback, the audio loops around to loop's start
point when it reaches Play-Length, and ► at any point will
initiates playing continuously from the loop's start point.
• [AP:RVDIR] – When recording reaches the Max-Length,
loop begins playing automatically and plays continuously.
During Playback, the audio loops around to loop's start
point when it reaches Play-Length, and ► at any point can
then be used to toggle the playback direction.
When set to [SMOOTH], resolution is 1%. The other Depth

control settings allow you to select the Play Speed in musical
intervals as follows (a negative value corresponds to Reverse
Play, and all resolutions have 0% in the middle for a full Pause):
• [OCTAVES] - From three octaves down to one octave up –

(+/-) 12.5%, 25%, 50%, 100%, 200%
• [OCT+5TH] - Octaves and fifths – (+/-) 12.5%, 25%, 37%,
50%, 75%, 100%, 150%, 200%
• [DOM7TH] - Dominant 7th Chord (root, M3rd, 5th, m7th,
representing common key modulations) – (+/-) 12.5%,
Varispeed
[SP-RES] 25%, 32%, 37%, 45%, 50%, 63%, 75%, 89%, 100%,
Resolution
126%, 150%, 178%, 200%
• [CHROMATIC] - Semi tones – (+/-) 12.5%, 25%, 26%,
28%, 30%, 32%, 33%, 35%,37%,40%, 42%, 45%, 47%,
50%, 53%, 56%, 59%, 63%, 67%, 71%, 75%, 79%, 84%,
89%, 94%, 100%, 106%, 112%, 119%, 126%, 133%,
140%, 150%, 159%, 168%, 178%, 189%, 200%
Note: During loop recording, Resolution will always return to

OCTAVES. This guarantees that the immediate playback speed
occurs at the recorded speed.
When the Loop is Empty, the Speed control lets you select the
record speed. A negative speed with Empty causes playback
to automatically start in the Reverse direction after the loop is
Varispeed [SPEED] closed, either through a ► Play button press or the[AP:LOOP],
[AP:RVDIR] settings on the Xnob / Playback Mode. The
choices are:
49
• [SPD: +/- 2X] – Double speed. At this record speed, the
maximum loop length is 6 seconds.
• [SPD: +/- 1X] – Normal speed. At this record speed, the
• [SPD: +/- 1/2] – Half speed. At this record speed, the
• [SPD: +/-1/4] – Quarter speed. At this record speed, the
After a loop is recorded, Varispeed controls the speed of

Loop playback AND dubbing over the full range of speeds
allowing for continuous real-time scrubbing from one octave
up in Reverse Play (-200%), to one octave up in Forward Play
(200%), with a pause (0%) directly in the middle (knob set to 12
o’clock). Play Speed resolution is dependent on the setting of
the Depth/Resolution control.
Controls the tone of the looped audio. Tone control filters are
placed at both the input and output of the Looper. This allows
you to control the tone of the audio that you’re recording and
Filter [FILTER]
then independently control the tone on playback. Turning to
the left cuts low frequencies and turning to the right cuts high
frequencies. For flat response, set the knob to 12 o’clock.
Tempo Mode and MIDICLK Sync
Tempo Mode allows beat-based recording and playback that stays in sync with your Eventide
Stompbox's internal MIDICLK or as a slave to an external MIDICLK. On Timefactor, press the
Encoder to toggle the Looper in and out of in and out of Tempo Mode. On H9, simultaneously
press the Right Footswitch and the Presets Button to toggle the Looper in and out of Tempo
Mode.
MIDICLK Slave mode
To slave off an external MIDICLK you’ll need to turn MIDICLK IN to ON in your Eventide
Stompbox's system menu under MIDI-> CLK IN-> ON or OFF, and you’ll need to connect a
viable MIDICLK master to your Eventide Stompbox, either over the MIDI DIN5 input or USB.
While in MIDICLK Slave Mode, the Looper will respond to MIDI Start and Stop commands.
These commands are sent by many Drum Machines, Sequencers and DAWs when used as
MIDICLK masters. However, you’ll need to reference your own device or software manual for
specific MIDICLK master mode and start/stop command setup guidance. Looper responds to
MIDI Start and Stop commands as follows for each Looper State:
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Empty
• MIDI Start – Resets the Looper’s internal “beat counter” and causes a ● Record Footswitch
press to sync up to the next beat (See the section on Footswitch Quantization below for
more info on this).
• MIDI Stop – no action
Recording
• MIDI Start – Stops Recording and starts Loop Playback
• MIDI Stop – Stops Recording and goes to the Stopped State.
Dubbing
• MIDI Start – Ends Dubbing and Starts Playing from Loop Start.
• MIDI Stop – Stops Loop Playback and Dubbing and goes to the Stopped State.
Playing
• MIDI Start – Retriggers to start Playing from Loop Start.
• MIDI Stop – Stops Loop Playback and goes to the Stopped State.
Stopped
• MIDI Start – Starts Loop Playback
• MIDI Stop – no action
Tempo Mode Footswitch Quantization
MIDICLK is made up of a series 24 “ticks” per beat. Tempo Mode quantizes many of the
Footswitch actions either to the next MIDI beat or the next MIDI tick. The quantization action of
the Footswitches for each Looper State is as follows:
Empty
• ● – Starting a new recording syncs to the next beat ONLY if in MIDICLK Slave mode
AFTER having received a MIDI Start command. Otherwise, this begins recording on the
next tick.
• ► – No action.
• ■ – Only used for tap tempo.
Recording
• ● – Record to Dub transition quantizes to the next beat.
• ► – Record to Play transition quantizes to the next beat.
• ■ – End recording and stop, quantized to the next beat.
Dubbing
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• ● – Dubbing in/out doesn’t do any footswitch action quantization.
• ► – End Dubbing and Start Playing from Loop Start. This action quantizes to the next tick.
• ■ – End Dubbing and Stop Playing. This action quantizes to the next beat.
Playing
• ● – Start Dubbing, no footswitch quantization.
• ► – Start Playing from Loop Start. This action quantizes to the next tick.
• ■ – Stop Playing. This action quantizes to the next beat.
Stopped
• ● – Starting a new recording quantizes to the next beat ONLY if in MIDICLK Slave mode
AFTER having received a MIDI Start command. Otherwise, this begins recording on the
next tick.
• ► – Start Playing from Loop Start. This action quantizes to the next tick.
• ■ – No action.
Control Knob Tempo Mode Sync Features
The following control knobs have enhanced features for Tempo Mode and MIDI sync allowing
for perfect MIDICLK beat sync even when they change.
Loop Play-Start Point:

In Tempo Mode, the minimum length of audio that can be played out is 1 beat so, the Play-Start
Point will display in beats allowing you start playback from 0 beats up to Loop Length minus 1
beat. For example, if you recorded an 8 beat loop, this will range from 0 to 7 beats.
Changing the Play-Start Point during Playback will apply the next time the Loop comes around
and will maintain perfect beat sync with MIDICLK.
Loop Play-Length:
In Tempo Mode, the minimum length of audio that can be played out is 1 beat so, the Play-
Length will display in beats allowing playback lengths of 1 beat up to the Loop Length. For
example, if you recorded an 8 beat loop, the Play-Length will range from 1 to 8 beats.
Changing the Play-Length during in Playback will apply the next time the Loop comes around
and will maintain perfect beat sync with MIDICLK. Of course, new Play-Lengths that don’t
evenly divide the total Loop Length will cause the loop to “walk” the downbeat, thus creating
interesting poly-rhythms against an existing pattern.
Speed / Varispeed:
In Tempo Mode, the Looper always loops about the current Play-Length number of beats in
the originally recorded time base, regardless of changes to the Speed. Thus, for slower speeds
the loop length will be truncated, and for faster speeds the loop will play through more than
52
once. For example, if you record an 8 beat loop at 1x, then play out 8 beats at a Speed of 50
(.5x), the Looper will loop beats 1-4. Alternatively, if you choose to play at a speed 150, the loop
will complete one full cycle of 8 beats, then a half cycle of 4 beats, and continue to loop this
1.5x pattern against the original time base. Please note that this Speed-based sync feature is
temporarily disabled while Dubbing, allowing you to dub through an entire loop, and once you
exit Dub mode moving back to Play, this sync feature will resume. This ensures that the Looper
always maintains perfect timing with external audio, drum machines, etc. while providing the
option to layer expressive pitched and poly-rhythmic patterns or even minutely controlled drifts
that always come back on the downbeat.
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ModFactor Algorithms
Ten distinct modulation effects – Chorus, Phaser, Q-Wah, Flanger, ModFilter, Rotary,
TremoloPan, Vibrato, Undulator, and RingMod. Each of these effects offers a world of
possibilities. For example, there are several types of Flangers, Phasers, etc.
These effects use 2 LFO’s (Low Frequency Oscillators) to create classic or FM/AM modulated
versions of many popular modulation effects. The primary LFO drives the main effect and is
controlled by the three parameters, Depth, Speed and Shape. The secondary LFO in turn
modulates the Speed and Depth of the primary LFO. The S-Mod knob controls the amount of
Frequency Modulation applied to the primary LFO and the D-Mod knob controls the amount
of Amplitude Modulation.
With S-Mod/D-Mod turned OFF, high quality renditions of classic modulation effects are
created. As the S-Mod/D-Mod knobs are turned up a small amount of movement will be
added to the effect to give it a controlled organic feel. Increase the amount of S-Mod/D-Mod
for complex and interesting and even extreme modulation effects.
The availability of expression pedal and envelope mod shapes allows the modulation rate to
be controlled dynamically by your playing as well.
Chorus - [CHORUS]
Chorus is an effect that is designed to take a single voiced instrument and give it the sound
of many instruments playing together. This is achieved through randomly modulating several
delay lines to create pitch and timing imperfections and then panning these voices in the stereo
field. Four types of chorus effects are supported: Liquid [LIQUID], Organic [ORGNIC], Shimmer
[SHIMER] and Classic [CLASIC].
Intensity [INTENS] Effect level.
Select Liquid [LIQUID], Organic [ORGNIC], or Shimmer

Effect Type [TYPE]
[SHIMER] or Classic [CLASIC].
Modulation
[DEPTH] Sets the modulation sweep range from narrow to wide.
Depth
Sets the modulation sweep rate. Note: If Envelope or ADSR

Modulation is selected for the Shape parameter, the modulation is driven
[SPEED]
Speed by the amplitude of the audio input and the Speed control
becomes a Sensitivity control.
Modulation Selects the shape (or source) of the modulation. The choices
Waveform [SHAPE] are: [SINE], TRIANGLE [TRIANG], [PEAK], [RANDOM],
Shape [SQUARE], [RAMP], Sample and Hold [SMPHLD], Envelop
[ENVLOP], or [ADSR]. In addition, the Expression Pedal
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[EXPPDL] can be chosen as a source. When EXP PDL is
chosen, the current preset’s pedal mapping is ignored.
Feedback/ [FEEDBK], Controls feedback for Liquid and Shimmer. For Organic, used
Delay [MDO], to scall a manual delay offset. For Classic, used to control a
Offset/Filter [FILTER] filter.
Amplitude Controls the amount of modulation of the Depth parameter.

[D-MOD]
Modulation Analogous to AM (Amplitude Modulation).
Frequency Controls the amount of modulation of the Speed parameter.

[S-MOD]
Modulation Analogous to FM (Frequency Modulation).
Sets the secondary LFO rate – determines how fast the D-Mod
and S-Mod “wiggle” their targets. Ranges from 1/8 to 8X the
Secondary
[RATE] Speed value. Note: If Envelope or ADSR is selected as the Mod
LFO Rate
Source, the modulation is driven by the amplitude of the audio
input and the [RATE] control becomes a Sensitivity control.
Selects the secondary LFO modulation source. The choices

are: [SINE], TRIANGLE [TRIANG], [PEAK], [RANDOM],
Modulation [SQUARE], [RAMP], Sample and Hold [SMPHLD], Envelop
[MODSRC]
Source [ENVLOP], or [ADSR]. In addition, the Expression Pedal
[EXPPDL] can be chosen as a source. When [EXPPDL] is
Phaser - [PHASER]
Phaser is an effect created by a series of all pass filters (phase shifters). When the output of
the filters is mixed with the dry signal sharp notches are created in the frequency spectrum of
the output; by modulating the center frequencies of the filters the notches move giving a sense
of motion to the effect. Five types of phasing effects are supported Positive [POS], Negative
[NEG], Feedback [FEEDBK], Bi-phase [BIPHAZ] and PhaseX0 [PHASX0].
Select Positive [POSTVE], Negative [NEGTVE], Feedback

[FEEDBK], Bi-phase [BIPHAZ] or PhaseX0 [PHASX0].
Effect Type [TYPE] Negative mixes the forward and feedback signals inverted;
Positive mixes the feed forward and feedback signals non-
inverted; Feedback is feedback only (no feed forward signal);
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BiPhase is based on the topology of the Mu-Tron Bi-Phase;
PhaseX0 is a phase 90 clone (but it also does phase 180 and
some others if you check the top right “STAGES” knob)
Modulation
Depth

[SPEED]
Selects the shape (or source) of the modulation. The choices

Modulation
[SQUARE], [RAMP], Sample and Hold [SMPHLD], Envelop
Waveform [SHAPE]
Shape
Stages/ [STAGES], This control allows you to select the number of digital filters. For
Direction [FWD-RV] [BIPHAZ] selects the sweep direction.

[D-MOD]

[S-MOD]
Secondary Speed value. Note: If Envelope or ADSR is selected as the Mod
[RATE]
LFO Rate Source, the modulation is driven by the amplitude of the audio
input and the speed modulation control [S-MOD] becomes a
Sensitivity control.

[MODSRC]
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Q-Wah - [Q-WAH]
The Q-Wah effect simulates a classic wah wah pedal when Shape is set to pedal or an auto
wah when set to envelope. Using Depth and/or other wave shapes creates more complex wah
sounds. Intensity will increase the Q or “Slinky-ness” of the wah effect. The types of wah-wah
effect supported are [QWAH], Vocal Wah [VOXWAH], Bass Wah [BASWAH] and Bass Vocal
Wah [BASVOX].
Select [WAHWAH], [VOXWAH], [BASWAH] or [BASVOX]. The

Effect Type [TYPE] bass types retain the low end as the wah filter climbs to higher
frequencies.
In [WAHWAH] and [BASSWAH] types, [DEPTH] sets the

modulation sweep range from narrow to wide. In [VOXWAH]
Modulation [DEPTH],
and [BASVOX] types, [VOWEL] will determine the vowel sound
Depth or [VOWEL],
of the vocal wah, or if [BOTTOM] is set to do a starting vowel,
Vowel Sound [EVOWEL]
[EVOWEL] will set the ending vowel sound for a talk-box style
effect.

[SPEED]

Modulation
Waveform [SHAPE]
Shape
Select the base frequency in [WAHWAH] and [BASWAH] types.

Base
[BOTTOM], In vocal types this will set the base frequency for a single vowel
Frequency or
[SVOWEL] (first half of knob), or allow you to set the starting vowel for a
Starting Vowel
talk-box style effect (second half of knob).

[D-MOD]

[S-MOD]
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[RATE]

[MODSRC]
Flanger - [FLANGE]
Flanging is similar to Phasing but more intense – deeper more numerous frequency notches.
Four types of flanging effects are supported: Positive [POS], Negative [NEG], Jet [JET] and Thru
Zero [THRU-0].
Select Positive [POSTVE], Negative [NEGTVE], Jet [JET] or

Thru Zero [THRU-0] flanging. Positive mixes the feed forward
and feedback signals non-inverted; Negative mixes the forward
Effect Type [TYPE] and feedback signals inverted; Jet uses a special arrangement
that creates a very extreme effect (like a jet taking off); Thru-0
uses two different delay line that flange against each other, so
the flange offset goes through 0.
Modulation
Depth

[SPEED]
Modulation Selects the shape (or source) of the modulation. The choices
Waveform [SHAPE] are: [SINE], TRIANGLE [TRIANG], [PEAK], [RANDOM],
Shape [SQUARE], [RAMP], Sample and Hold [SMPHLD], Envelop
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Delay Offset [MDO] Set Delay offset.

[D-MOD]

[S-MOD]
[RATE]

[MODSRC]
ModFilter - [M-FLTR]
ModFilter is a set of modulated filters. Intensity controls a combination of base filter frequency
and Q, while Depth controls the frequency offset of the left and right channels to create a stereo
image. Three types of ModFilter effect are supported Low Pass [LPF], High Pass [HPF], and
Band Pass [BPF].
Select Lowpass [LOPASS], Bandpass [BDPASS] or Highpass

Effect Type [TYPE]
[HIPASS] modulated filters.
Modulation
Depth
Modulation Sets the modulation sweep rate. Note: If Envelope or ADSR
[SPEED]
Speed is selected for the Shape parameter, the modulation is driven
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by the amplitude of the audio input and the Speed control

Modulation
Waveform [SHAPE]
Shape
In mono out mode, this control is not used. In stereo mode, this
control shifts the phase of the right channel’s LFO creating a
Unused/ [UNUSED]/
tremolo that will move from left to right in the stereo field. When
Stereo Width [WIDTH]
set to Max, the right channel will be 180 degrees out of phase
with the left creating an autopanner.

[D-MOD]

[S-MOD]
[RATE]

[MODSRC]
Rotary - [ROTARY]
Rotating speaker (Leslie) simulation. Choose cabinet size: Standard [STNDRD] or over-sized
[GIANT]. A Leslie is built using a rotating speaker for low and mid-range frequencies and a
rotating treble horn for highs. With Rotary you can control the speed of the rotor and horn
independently and adjust the mix of the two.
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Type [SIZE] Select Standard [STDRD] or Giant [GIANT] size cabinets.
Rotor Speed [RTRSPD] Sets the rotation speed of the rotor (low frequency) speaker.
Horn Speed [HRNSPD] Sets the rotation speed of the horn (high frequency) speaker.
Rotor/Horn
[BALNCE] Sets the balance between the rotor level and horn level.
Balance
Tone Control [TONE] Just what you’d expect.

[D-MOD]

[S-MOD]
[RATE]

[MODSRC]
TremoloPan - [TREMLO]
Tremolo is an effect that is created by modulating the level of the incoming audio with a
LFO. With this effect, as you turn WIDTH knob, it will shift the phase of the right channel's
LFO creating a tremolo that will move from left to right in the stereo field. When the WIDTH
is full clockwise, the right channel will be 180 degrees out of phase with the left creating an
autopanner. Both outputs will have to be connected for this to function correctly.
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For [BIAS], Intensity controls the amount of Drive. For high
input levels, setting [INTENS] to high levels can cause overload
[DRIVE],
Drive/Edge distortion. For [OPTO], Intensity controls input slew rate (Edge)
[EDGE]
and, depending on the input signal, may only have a subtle
effect.
Effect Type [TYPE] Select Bias [BIAS] or opto-coupled [OPTO].
Modulation
Depth

[SPEED]

Modulation
[SQUARE], [RAMP], Sample and Hold [SMPHLD], Envelope
Waveform [SHAPE]
[ENVLPE], or [ADSR]. In addition, the Expression Pedal
Shape
In mono out mode, this control spreads the tremolo and make
the sound more smooth. In stereo mode, this control shifts the
Mono Spread/ [SPREAD], phase of the right channel’s LFO creating a tremolo that will
Stereo Width [WIDTH] move from left to right in the stereo field. When set to Max,
the right channel will be 180 degrees out of phase with the left
creating an autopanner.

[D-MOD]

[S-MOD]
[RATE]
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[MODSRC]
Vibrato - [VIBE]
Vibrato is an effect that simulates the pitch change you get by modulating a guitar string or
using a whammy bar. Modulating the rate with an Expression Pedal or envelope will create
some insane vibratos. Three types supported – Modern [MODRN], Vintage [VINTG] and Retro
[RETRO].
Select – Modern [MODREN], Vintage [VINTGE] or Retro

Effect Type [TYPE]
[RETRO].
Modulation
Depth

[SPEED]

Modulation
Waveform [SHAPE]
Shape
Unused/ [UNUSED], For Modern and Vintage controls the ‘width’ of stereo panning
Stereo Width/ [WIDTH], (stereo mode only). For Retro selects the number of filter
Filter Stages [STAGES] stages.

[D-MOD]
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[S-MOD]
[RATE]

[MODSRC]
Undulator - [UNDLTR]
Undulator is a classic Eventide effect that combines two delays, two detuned voices, and a FM
modulated tremolo. By turning up the Intensity you can increase the dry/effect ratio.
Effect Type [TYPE] Select – Pitch [PITCH] or Feedback [FEEDBK].
Modulation
Depth

[SPEED]

Modulation
Waveform [SHAPE]
Shape
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Pitch Spread/ [SPREAD] For Pitch select the spread (de-tuning), for Feedback control
Feedback [FEEDBK] the amount of feedback.

[D-MOD]

[S-MOD]
[RATE]

[MODSRC]
RingMod - [RINGMD]
Ring Modulator is an effect created by multiplying an input signal by an audio frequency
waveform; the result is a waveform containing the sums and differences of those frequencies
and their partials. This creates a waveform with complex (and usually nonharmonic) bell-like
overtones. By using the S-Mod control to modulate this carrier frequency you can create useful
and interesting sounds. The D-Mod parameter slightly detunes the right and left voices creating
a stereo field. Two modulation types are supported [RING] and [STRING].
Effect Type [TYPE] Select [RING] or [STRING].
UN-USED [UNUSED] Unused control.
Modulation Sets the modulation sweep rate. Note: If Envelope or ADSR

[SPEED]
Speed is selected for the Shape parameter, the modulation is driven
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by the amplitude of the audio input and the Speed control

Modulation
Waveform [SHAPE]
Shape
Tone Control [TONE] Just what you’d expect.

[D-MOD]

[S-MOD]
[RATE]

[MODSRC]
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H9 Algorithms
UltraTap - [ULTRA.T]
UltraTap is a versatile multi-tap delay-line effect capable of a myriad of sounds from rhythmic
delays, to wacky comb filtering, to huge pad-like volume swells, to unique reverbs, and
everything in between.
Total time over which the taps are spaced in, up to 4 secs of
Length [LENGTH]
tap time.
#ofTaps [TAPS] The number of taps, from 1 to 64.
Predelay [PREDLY] The amount of time before the taps start, up to 1 sec.
The rhythmic spacing of the taps. More negative values will

group taps towards the beginning, for a “slowing-down” feeling.
Spread [SPREAD] More positive values will group more taps towards the end for a
“speeding-up” delay sound. A zero value will result in constant
spacing.
Controls the fade of the taps. More negative values will

increasingly give a fade-up over the taps, and more positive
Taper [TAPER]
values will give a fade-down over the taps. A zero value will
result in equal gain across all taps.
A tone control. Negative values will make darker sounding taps,

Tone [TONE]
while positive values will make brighter sounding taps.
Slurm [SLURM] Juicy tap slurring/smearing and modulation.
A pre-tap-machine “chopping’ tremolo OR auto-volume

processor. The tremolo has several LFO waveform choices:
off [OFF], triangle [TRIANG], sawtooth [SAW], ramp [RAMP],
square [SQUARE], or sample/hold [SMPHLD]. The auto-
Chop [CHOP] volume processor will either do volume swells [SWELL (0-9
input sensitivity control)], or a gating effect, called Trigger,
that chops off the end of sounds [TRIG (0-9 input sensitivity
control)]. There is also a setting for expression pedal control of
the pre-tap-machine volume [EXPDL].
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This knob acts as a multi-function parameter control for the
[CHOP] knob. For the LFO waveforms, [SPEED] will change
[SPEED],
Speed, Rise, the LFO speed. For [SWELL], [RISE] will adjust the swell rise
[RISE],
or Release time, and for [TRIGGR], [RELEAS] sets the amount of time
[RELEAS]
after triggering before the gate kicks in and chokes off the
sound.
Resonator - [RESNTR]
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.
Total length of the delay line. This length is split into 8

Length [LENGTH]
subdivisions on which the comb filters can be staggered.
Represents the rhythm pattern of the comb filters. Each digit

indicates the subdivision on which a comb filter is positioned.
Rhythm [RHYTHM] “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.
The feedback level of each of the comb filters. Feedback type

Feedback [FDBCK] 1 [FB1] maintains the pattern set by the rhythm knob, whereas
feedback type 2 [FB2] degrades the pattern as it repeats.
Affects how intensely the comb filters resonate. The comb

filters will ring out more intensely as the resonance increases in
Resonance [RESNCE]
either the positive or negative direction. Resonance set to 0 will
acts as multi-tap delay without any additional resonant tones.
Reverb [REVERB] Controls the amount of reverb in the comb filter path.
Tunes the note values that trigger each respective comb

Note1 [NOTE1] 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
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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.
Note2 [NOTE2] Same as Note1.
EQ Compressor - [EQCOMP]
The EQ Compressor algorithm is a multi-featured parametric equalizer coupled with a dynamic,
intuitive compressor, offering a premium tone shaping tool for a variety of instrumentation. The
EQ section includes two completely parametric bands along with low shelf and high shelf filters
for easy manipulation of your tone (be sure to check out the graphical EQ curve in H9 Control).
The unique compressor section can be placed before or after the EQ for maximum flexibility with
a single control, enabling you to emphasise, harness, and control the parts of your sound you
want to shine through a mix. EQ Compressor also features up to 12 dB of boost at the output to
push an amp to awesomeness for your soul tearing solos.
The gain of the first parametric filter. Provides 12dB of boost or

Gain 1 [GAIN1]
18dB of attenuation.
The center frequency of the first parametric filter. The frequency

Frequency 1 [FREQ1]
ranges from 30Hz to 1500Hz.
Controls the bandwidth of the 1st parametric filter. A value of 10

Width 1 [WIDTH1] represents a larger bandwidth while a value of 1 represents a
narrower bandwidth.
The gain for the 2nd parametric filter. Provides 12dB of boost or
Gain 2 [GAIN2]
18dB of attenuation.
The center frequency of the first parametric band. The

Frequency 2 [FREQ2]
frequency ranges from 1000Hz to 9999Hz.
Controls the bandwidth of the 2nd parametric filter. A value of

Width 2 [WIDTH2] 10 represents a larger bandwidth while a value of 1 represents
a narrower bandwidth.
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Controls the gain on the Low Frequency Shelving Filter which
Bass [BASS] is centered around 400Hz with a slope of 8dB/Octave. You can
boost the lows by 12 dB or cut by 18dB.
The gain on the High Frequency Shelving Filter which is

Treble [TREBLE] centered around 1800Hz with a slope of 8dB/Octave. You can
boost the highs by 12 dB or cut by 18dB.
The amount of compression applied to the signal. The values

to the left half of the knob will affect the Pre-EQ compression,
increasing the amount of compression as you move it counter
clockwise. The values to the right half of the knob will affect the
Compressor [COMP] Post-EQ compression, increasing the amount of compression
as you move it clockwise. The 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.
Controls the level at the output of the signal path. Provides

12dB of boost or 12dB of attenuation. The algorithm is
Trim [TRIM] designed to “gracefully” clip if there is too much gain inside the
EQ. The red overload LED on the H9 Pedal will light up in this
case.
CrushStation - [CRUSH]
An overdrive/distortion command center with controls that drive your tone anywhere from
a creamy saturation to a 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.
The clean/dirty mix, all the way left is clean, all the way right is
Mix [MIX]
dirty.
The overdrive amount. Ranges from subtle boost/overdrive to

Drive [DRIVE] full on distortion with Grit and Sustain controls pushing it into
fuzz territory.
Compressor/ Compression/Sustain which is Pre (turn left) distortion, or Post

[SSTAIN] (turn Right) distortion. The sustainer is specially designed to
Sustainer
vary the numerous parameters of a typical compressor such
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as the ratio, attack, release, and the makeup gain to keep the
overall loudness consistent.
Turn it up to get increasingly sputtery, crushed, and broken

Sag [SAG] sounds. Inspired by power rail sag of poorly designed tube
amps and the dead and dying gear of times past.
Mixes in/out lower and higher pitch-shifted octaves before the

Octaves [OCTAVE]
distortion and compression.
Adds more low end before the distortion for a gritty chugging
Grit [GRIT]
sound.
Cut and boost of the lower frequencies to hollow out the sound
Bass [BASS]
or add some thud.
Cut and boost of the mid range frequencies (frequency

Mids [MIDS] selectable with [MIDFRQ] control) to scoop some muddiness or
punch through a mix.
Tunable center frequency of the [MIDS] cut/boost. Similar to a

Mids
[MIDFRQ] parked wah when boosted up high. Smoothly changes when
Frequency
connected to an expression pedal.
Cut and Boost of the higher frequencies to mellow out the

Treble [TREBLE]
sound or emphasize higher harmonics.
SpaceTime - [SPCTME]
SpaceTime is a multi-effects algorithm combining Modulation, two Delays, and Reverb into one,
easy to use effect. Modulation is most similar to a chorus and is the first effect in the signal path.
The Delays are based on Eventide's Vintage Delay Algorithm from the TimeFactor pedal and
the Reverb section draws from both the Plate Algorithm in Eventide's SPACE pedal, as well
as Eventide's ULTRA REVERB Native Plug-in. Unique to SpaceTime is the ability to route the
Delays and Reverb in series or parallel after Modulation, further adding to its versatility and
creative applications.
Controls overall algorithm wet/dry balance. 100% is all wet

MIX [MIX]
signal.
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Adds Modulation to entire signal path. Modulation depth also
MOD AMT [MODAMT]
increases as you go from 0 to 100.
Adjusts the speed of the LFO controlling the Modulation

RATE [RATE] section of SpaceTime. Continuously adjustable from 0.05Hz to
12.50Hz.
Adjust the output level of the Reverb and routes the Reverb in
Series after the Delays or Parallel with the Delays. The first half
of the knob adjusts Series Reverb level from 0 to 100 while the
VERB LVL [VERB] second half of the knob switches to Parallel routing and adjusts
Reverb level from 0 to 100. Percussive playing coupled with
long Delay times and short Reverb Decay times will showcase
parallel routing.
Sets the decay length of the Reverb in seconds or Note

DECAY [DECAY]
Divisions when in Tempo Mode.
Changes the Reverb character from small and dense (set to 0)

COLOR [COLOR]
to large and spacious (set to 100).
Controls the amount of both Delays in the signal path. Can

also be used to set the dry to wet blend of delayed signal sent
to the Reverb in the series path. With DLY LVL set less than
DELAY
[DLYLVL] 50, dry signal and Delayed signal are both sent to the Reverb
LEVEL
section. After 50, DLY LVL reduces the dry signal sent to the
Reverb allowing only the delay repeats to have Reverb when
the control reaches 100.
Sets the Delay time for Delay A from 0 to 2500ms when

TEMPO is OFF. With TEMPO ON, Delay is sync'ed to the
DELAY A [DLY-A] TEMPO BPM and is adjusted in note division increments from
No Delay (NO DLY) to a Whole Note (WHOLE) in the most
common note divisions.
Sets the Delay time for Delay B from 0 to 2500ms when

DELAY B [DLY-B] TEMPO BPM and is adjusted in note division increments from
Adjusts the amount of feedback for both delays and contains

FEEDBACK [FDBK] two feedback types (F1 and F2). F1 links both delay times to
create a rhythmic, repeating pattern where the longer delay
72
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.
Sculpt - [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, stereo out mode features unique spectral panning effects that spread the hi and lo
bands out into the separate channels.
The clean/dirty mix, all the way left is clean, all the way right is
Mix [MIX]
dirty.
Band Mix [BANDMX] The mix between the low and high band.
Crossover The crossover frequency where the low band and high band
[XOVER]
Frequency are split.
Low Drive [LDRIVE] Overdrive of the low band signal.
High Drive [HDRIVE] Overdrive of the high band signal.
Compression which is Pre (turn left) distortion, or Post (turn

Right) distortion. Turn left to juice up the harmonics in the
distortion, or turn right for some sparkly compressor spank. The
Compressor [COMP] 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.
Boosts the low end either Pre (turn left) distortion for chuggier
Low Boost [LOWBST]
low end, or Post (turn Right) distortion for smoother low end.
Peaking filter before the distortion. Turning left sweeps a cutting

filter up in frequency. Turning right sweeps a boosting filter
Filter-Pre [FLTPRE] up in frequency, similar to having a parked wah before the
distortion. Smoothly changes when connected to an expression
pedal.
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Peaking filter after the distortion. Turning left sweeps a cutting
filter up in frequency. Turning right sweeps a boosting filter up
Filter-Post [FLTPST]
in frequency, similar to having a parked wah after the distortion.
Smoothly changes when connected to an expression pedal.
Envelope follower that modulates both [FLTPRE] and [FLTPST]

according to this input sensitivity setting. The values of
Envelope [FLTPRE] and [FLTPST] become the depths that the envelop
[ENVFLT]
Follower glides up to. Interesting dynamic changes are achieved when
pre and post and set to opposite sweeps, e.g. Pre boost, and
Post cut, etc.
PitchFuzz - [PTCFUZ]
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. The Fuzz gets its inspiration
from classic analog fuzz pedals as well as Eventide's own CrushStation and Sculpt algorithms.
The Pitch Shifters come second 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 of the
pitched voices only, creating arpeggiated type effects.
Controls the amount of Fuzz/Distortion generated after the input

signal. A setting of 0 completely bypasses the Fuzz effect. Use
Fuzz [FUZZ]
1 - 50 for a distortion type effect and 51 - 100 for more of a
Fuzz type effect.
Fuzz Tone [FZTONE] Tone shaper for the fuzz effect.
Controls the level of the three Pitch Shifters. From 0 to 3

Pitch Amount [PEACH] Voices. Pitch A: 0 - 1.0, Pitch A + B: 1.0 - 2.0, Pitch A + B + C:
2.0 - 3.0.
Adjust the pitch shift amount of the A voice. Range is +/- 2

Pitch A [PTCH-A]
octaves with micro pitch shift ability at unison (+/- 25c).
Pitch B [PTCH-B] Same as Pitch A.
Pitch C [PTCH-C] Same as Pitch A.
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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
Delay Level [DLYLVL]
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 apreggiated type effects.
Try this with PITCH AMT set to 3.0.
Sets the Delay time for Delay A from 0 to 2500ms when

Delay A [DLY-A] TEMPO BPM and is adjusted in note division increments from
Delay B [DLY-B] Same as Delay A.
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
Feedback [FDBK]
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.
HotSawz - [HOTSAW]
Just like a synth, HotSawz is a musical palette for creating interesting sounds. HotSawz is
based around classic subtractive synthesis using saw waves for all oscillators. We're using 6
oscillators that follow a mono pitch tracker. The filter type is low pass.
HotSawz has three modulation sources: LFO, Envelope Follower, and a Gate, as well as four
assignable modulation destinations: Filter Cutoff, Volume, Pitch, and Oscillator Depth. Each
source can be assigned to any destination at a given time, so multiple sources can modulate the
same destination. There are 64 combinations of source to destination assignments.
[SUBMIX], Knob has four ranges each 0 - 100. Each range mixes dry and
[S+RMIX], various oscillator combinations.
Mix • [SUBMIX] - Mixes in lower octave OSCs only.
[ALLMIX],
[R+UMIX] • [S+RMIX] - Mixes in lower octave and current register
OSCs together.
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• [ALLMIX] - Mixes in lower octave, current register, and
octave above OSCs together.
• [R+UMIX] - Removes sub octave OSCs. Mixes in current
register and upper OSCs together.
Mixes in 2nd OSCs for each register and adds detuning. Also
Osc Depth [OSCDEP] spreads the OSCs across the stereo field. Modulation sources
assigned to Oscillator Depth are additive.
Controls the cutoff frequency of the low pass filter. Filter is

Cutoff [CUTOFF] in series with wet signal. Modulation sources assigned to
CUTOFF are additive.
Resonance [RESNCE] Controls the low pass filter Q.
Controls LFO's wave shape and speed. Knob has four ranges
each 0.1 Hz to 20 Hz or Whole note to 1/16 note divisions.
Each range switches the LFO wave shape.
[TRI], [TRI] - Triangle.
LFO Speed •
[SQUARE],
and Wave [SQUARE] - Square.
[RAMPDN], •
Shape
[RAMPUP] • [RAMPDN] - Decaying Ramp.
• [RAMPUP] - Rising Ramp.
Assigns LFO destination and controls amount of modulation.

Knob has four ranges. Each range assigns the LFO to a
different destination for modulation.
LFO • [CUT] - Assigns LFO to modulate Cutoff frequency.
Amount and [LFOAMT] [VOL] - Assigns LFO to modulate wet output level.
•
Destination
• [P] - Assigns LFO to modulate pitch +/-3600 cents.
• [DEP] - Assigns LFO to modulate Oscillator Depth.
Gate Attack speed from 0 to 3000ms. When the GATE Sustain/

Gate Attack [ATTACK]
Range knob is set to OFF, ATTACK knob has no effect.
Gate Decay speed from 0 to 3000ms. When the GATE Sustain/

Gate Decay [DECAY]
Range knob is set to OFF, DECAY knob has no effect.
Gate
[SSTAIN], Assigns GATE destination and controls amount of either
Amount and
[RANGE] Sustain or Range of the GATE. Knob has four ranges. GATE
Destination
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Sustain level occurs after both Attack and Decay of the GATE
(There is no release in the GATE). GATE Range (for Pitch as
destination) is how far from 0 pitch modulation is allowed to go
at the end of GATE attack.
• [OFF] - Disconnects the GATE. Attack and Decay control
will have no affect on signal.
• [CUT] - Assigns the GATE to modulate Cutoff frequency.
• [VOL] - Assigns GATE to modulate wet output level.
• [P] - Assigns GATE to modulate pitch Range +/-3600
cents. Returns to 0 modulation after GATE Decay.
• [DEP] - Assigns GATE to modulate Oscillator Depth.
This Envelop is triggered and drawn by dynamics of input level.

This parameter assigns Envelope destination and controls
amount of modulation. It has four ranges each 0 - 100. Each
range assigns the Envelope to a different destination for
modulation.
Envelop
• [CUT] - Assigns the Envelope to modulate Cutoff
Follower and [ENVLOP]
frequency.
Destination
• [VOL] - Assigns the Envelope to modulate wet output level.
• [P] - Assigns the Envelope to modulate pitch.
• [DEP] - Assigns Envelope to modulate Oscillator Depth.
Harmadillo - [HRMDLO]
Harmadillo is a flexible harmonic tremolo, offering everything from soulful lush tremolos to
psychedelic mind-bending weirdness.
An ordinary tremolo automatically fades your signal up and down using a low frequency
oscillator (LFO). Because your sound is faded down for part of the waveform, the overall sound
seems quieter. Many tremolo pedals provide a gain or volume control to help offset this volume
loss.
A harmonic tremolo takes a different approach. It splits the signal into low and high frequency
bands and then applies the LFO to the low band and an inverted copy of the LFO to the high
band. When the low band becomes louder, the high band becomes quieter, and vice versa.
This way, the overall volume doesn’t drop as much because one part of the sound spectrum is
always audible. This also means that the upper harmonics receive a different tremolo than the
fundamental, hence the name "harmonic tremolo."
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Harmadillo features three ENV (envelope follower) controls that use your picking and playing
dynamics to affect the tremolo's rate, depth, and crossover frequency. These controls can make
subtle or drastic changes to your sound and add flexibility to the effect. When first getting to
know Harmadillo, we recommend setting the ENV controls to 0 so that you can get a feel for
the basic controls first. Once you are familiar with those, it will be easier to see how the ENV
controls can be used to add expression to your playing.
This is the depth of the low and high bands of the tremolo.
• At 0, the tremolo will have no effect on the volume of the
DEPTH [DEPTH] bands.
• At 100, the bands will be completely faded in and out.
This is the base rate of the tremolo. When Tempo mode is ON,
this becomes a multiplier on the tapped BPM value. The ENV
RATE [RATE] RATE control can change the apparent rate, so if the rate that
you are hearing is different from the value of the RATE control,
try setting the value of ENV RATE to 0.
The shape of the tremolo waveform. The same shape is

used for both high and low bands. The shapes describe what
happens to the low band, since it's usually the main part of
your sound; the high band will change in the opposite direction.
Options are:
• SINE - Sine wave. This shape works well for producing a
smooth, subtle tremolo.
• FAT SINE - "Fat" sine wave that spends more time near
its minimum and maximum values. This waveform sounds
similar to SINE, but with slightly more throb.
• PHAT SINE - An even "fatter" sine wave that spends even
more time at its minimum and maximum values.
SHAPE [SHAPE] TRIANGLE - A linear up/down ramp. Like sine, this is a
•
good shape for smooth, subtle tremolo.
• RAMP DN - A downward ramp for the low band, and an
upward ramp for the high band. The low band will have a
plucked attack while the high band will fade in.
• RAMP UP - An upward ramp for the low band, and a
downward ramp for the high band. The low band will fade
in, while the high band will have a plucked attack.
• PULSE X - A pulse wave with selectable duty cycle (X).
The low band will stay at its maximum amplitude for X%
of the cycle, then jump to its minimum amplitude, set by
DEPTH and ENV DEPTH. X values are 25%, 33%, 50%,
66%, and 75%. This shape can be especially interesting
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when paired with a delay pedal whose time is related to
Harmadillo's rate.
• LUMP - The first half of a sine wave. The low band's
waveform is rounded at the maximum and pointed at
the minimum. This shape is good for making fast, vibey
tremolos.
• RUMP - The second half of a sine wave (RUMP is the
inverse of LUMP). The low band's waveform is pointed at
the maximum and rounded at the minimum. Like rump, this
is a good shape for fast, vibey tremolos.
• SLOPE X - A curved ramp with continuously adjustable
slope from 0 to 100.
• X = 0: downward curve for the low band, upwards
curve for the high band
• X = 50: symmetric curves for low and high (similar to
the RUMP shape)
• X = 100: upward curve for the low band, downwards
curve for the high band
XOVER (crossover) determines where in the frequency

spectrum the low band ends and the high frequency band
begins. In practice, each band rolls off around the crossover
frequency, so they overlap a bit. The X-OVERLAP control
allows you to adjust the amount of overlap; see below.
• To mimic an ordinary tremolo, set X-OVER to its maximum
value of 12,000 Hz. Most of an electric guitar's sound
spectrum is below 6,000 Hz. Any audio above 12,000 Hz
(i.e., hardly any sound) will be heard in the high band, and
everything else will be heard in the “low” band. Change
X-OVER gradually to morph into and out of an ordinary
X-OVER [XOVER]
tremolo sound.
• The X-OVER control is especially interesting when the
SHAPE control is set to an asymmetric shape such as
RAMP UP. This means that for each cycle of the tremolo
the portion of the signal below the X-OVER value will be
faded in and the portion of the signal above the X-OVER
value will be faded out. If you start playing a scale below
the X-OVER frequency and continue playing above it, the
shape of the tremolo will appear to change as you cross
over the X-OVER frequency!
X-OVERLAP [XOVRLP] The X-OVERLAP control adjusts the amount of overlap

between the high and low bands. Negative values will produce
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a cut at the crossover frequency, and positive values will
produce a boost at the crossover frequency.
• To explore the effect of this control set:
• [X-OVERLAP] to 100
• [DEPTH] to 0
• [ENV DEPTH] to 0
• [DRIVE] to 0
• [ENV XOVER] to 0
This removes the tremolo effect so you can hear the

filtering. Slowly sweep the X-OVER value from 100 to
3,000 Hz as you play a repeated note, and listen for a
boost at the crossover frequency.
• Harmonic tremolo effects often have a scoop in the

midrange near their crossover. You can emulate this by
using negative values for X-OVERLAP. To dial in classic
sounds, set ENV-XOVER to 0, set the X-OVER frequency
between 400 and 900 Hz, and adjust X-OVERLAP and
DEPTH as needed.
The DRIVE control adds warmth to the signal by mimicking the

DRIVE [DRIVE]
behavior of a tube amplifier's harmonic tremolo.
The ENV DEPTH control uses the amplitude envelope of the

input to increase or decrease the tremolo's depth.
• Positive values increase the depth of the tremolo when you
attack a note. The depth will return to the level set by the
DEPTH control as the note decays. Additionally, louder
notes will have greater depth than softer notes.
• Negative values reduce the tremolo when you attack a
note, increasing the clarity of your attacks and making
ENV DEPTH [EVDPTH]
sustained notes more expressive over time. Playing louder
will reduce the depth of the tremolo, and you can use large
negative values to create tremolos that only appear when
the input is soft.
• The ENV DEPTH control covers a large range, so we
recommend starting with values closer to 0, and then
adjusting the control as needed.
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The ENV RATE control uses the amplitude envelope of the
input signal to affect the rate of the tremolo.
• With positive values, the tremolo jumps up in frequency
when you attack a note and gradually returns to the original
rate set by the RATE or tap tempo controls. The harder
you play, the longer it will take to return.
• Negative values will temporarily reduce the rate of the
tremolo when you attack a note, and the rate will return
to the value set by the RATE knob or tap tempo as the
ENV RATE [EVRATE] note decays. With larger negative values and high RATE
values, you can use this control to create bouncing-ball
tremolo type effects. This is especially effective with the
SHAPE control set to PULSE, RAMP DN, RAMP UP, or
SLOPE 0 options.
• The ENV RATE control covers a large range -- at 100%,
it can push the internal LFO rate up to 80 Hz -- so we
recommend starting with values closer to 0, and then
adjusting the control as needed.
The ENV XOVER control uses the amplitude envelope to affect

the crossover frequency.
• To create a swept filter effect similar to an autowah, set X-
OVERLAP to 100, set the X-OVER frequency to 200 Hz,
and then increase the amount of the ENV XOVER conrol
as necessary. The frequency of the crossover filter will now
track the loudness of the input signal.
• You can create a single-notch phaser by turning DEPTH
to 0, X-OVERLAP to -100, X-OVER to 3500, and then set
ENV XOVER to a medium negative value, adjusting to
ENV XOVER [EVXOVR]
taste. Once you have a sound you like, try slowly turning
up the DEPTH control. Try playing long chords with these
settings. In addition to the phasing effect, you will now
notice that the tremolo also seems to change as a chord
dies out. This is because the crossover frequency returns
to the high X-OVER value (3500 Hz) as the chord decays.
• Try setting SHAPE to an asymmetric waveform (e.g.,
RAMP DN) to produce waveform morphing effects as the
crossover frequency changes.
A tone control for shaping the high or low end of the output
TONE [TONE] signal. Negative values roll off high frequencies (HICUT), and
positive values roll off low frequencies (LOCUT).
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TriceraChorus - [TRICER]
TriceraChorus is inspired by the classic tri-choruses and stompbox choruses of the 1970s
and early 1980s. These units used bucket brigade delay (BBD) chips to create chorusing.
TriceraChorus pairs rich BBD-style trichorusing with another classic effect of the 1980s:
Eventide MicroPitch detuning. This effect can be used to thicken the sound, to add static
chorusing, and to spread the stereo field by detuning the left and right signals in opposite
directions.
TriceraChorus has three chorus voices: Left (L), Center (C), and Right (R). Each voice uses
a dedicated LFO to modulate a delay at the frequency set by the RATE knob. The modulated
signals for the Left and Right voices are -120 and 120 degrees out of phase relative to the
Center modulation signal. The combination of the three modulated delays creates lush chorus
sounds.
The DEPTH L / DEPTH C / DEPTH R knobs control the depth of the respective voices. Larger
depth values increase the amount of delay modulation, creating greater changes in pitch. When
a depth control is set to OFF, that voice is removed from the output, and the volume levels of
the other voices will be automatically adjusted to maintain a constant level.
Global mix control for chorusing and has two modes, Chorus
and Chorale. Chorus and Chorale Mix levels are independent of
Detune Mix (see below).
• In Chorus Mode (0 - 99 range on left half of the knob), all
three chorus channel mixes, Left, Center, and Right are
affected together. At 100 (Vibrato), no dry signal is present.
In Chorus mode, LFO shapes are triangular from a range
of 0 to 75. After 75, the LFO morphs from triangular to
[CHRMIX/
CHORUS MIX sinusoidal at 100.
CRLMIX]
• Chorale Mode (99 - 0 range on right half of the knob) adds
two fixed rate LFOs, one slow and one fast, to the primary
LFOs creating an effect similar to combining the PRESET
and MANUAL modes on the DYTRONICS TriChorus. This
increases the complexity of the modulation, producing
a richer sound. In Chorale mode, all LFO shapes are
sinusoidal througout the range of the control.
This is the base rate of the chorus modulation, from 0.1 to 20

RATE [RATE] Hz. When Tempo mode is ON, this becomes a multiplier on
the tapped BPM value. The ENV RATE control can change
the apparent rate, so if the rate that you are hearing is different
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from the value of the RATE control, try setting the value of ENV
RATE to 0.
Chorus modulation depth of the Left voice, with two options:

OFF, 1-100. When Depth L is OFF, the voice is removed from
the mix, and the levels of the other voices are automatically
adjusted to preserve the wet-dry blend. In mono to stereo
DEPTH L [DEPTHL]
routing, if DEPTH R is OFF but DEPTH L is active, the
chorused signal will be routed to the left and the dry signal will
be routed to the right. This is a classic technique for producing
a wider stereo image.
Chorus modulation depth of the Center voice, with two options:

OFF, 1-100. When Depth C is OFF, the voice is removed from
DEPTH C [DEPTHC]
adjusted to preserve the wet-dry blend.
Chorus modulation depth of the Right voice, with two options:

OFF, 1-100. When Depth R is OFF, the voice is removed from
adjusted to preserve the wet-dry blend. In mono to stereo
DEPTH R [DEPTHR]
routing, if DEPTH L is OFF but DEPTH R is active, the
chorused signal will be routed to the right and the dry signal will
be routed to the left. This is a classic technique for producing a
wider stereo image.
DELAY sets the amount of delay for the chorusing effect; use it
to thicken your signal, create a flange, or slap-back sound.
• When CHORUS MIX is in Chorus Mode, DELAY sets
the minimum delay time for all voices, ranging from 0.39
mS to 200 mS. Short delays can be used to create light
flanging. Typical chorus delays range from 1.5-10 mS. You
can create a chorused slapback sound by using values
DELAY [DELAY] between 50 and 100 mS.
• When CHORUS MIX is in Chorale Mode, the delay amount
for each voice becomes a function of the DELAY setting
and the DEPTH level of each voice. In this case, the
DELAY becomes a range of possible delay amount for
each voice. As you increase the DEPTH of a voice, its
delay amount decreases.
DETUNE MIX [DTNMIX] Mix control for the Detune section of the algorithm. The
Detuners are fed from the stereo output of the Chorus voices.
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DETUNE MIX controls the stereo left and right channels at the
same time and is independent of the CHORUS MIX control.
Controls both detune amounts for the left and right channels.
Range is +/- 40 cents. Left and right channels get opposing
amounts of detune (for example -30L/+30R). For enhanced
DETUNE [DETUNE] versatility, the channels can be set with different opposing
amounts. Left channel is the base detune amount and right
channel can be adjusted around an 8 cent opposing window
(for example -16L/+12R to -16L/+19R).
Controls Amplitude Envelope assignment as well as Envelope

Depth. There are two assignable Envelope modulation
destinations:
• Envelope to Mix [ENVMIX]. Playing dynamics modulate the
global Chorus Mix and Detune Mix amounts. Range is -100
to 100.
• Negative values decrease the mix levels when you

attack a note, and can be used to increase the
clarity of your attacks or make sustained notes more
expressive over time. Playing louder will reduce the
chorusing effect, and you can use large negative
values to only allow chorusing when the input is soft.
• At zero, the envelope will not affect the chorus or
detune mixes.
• Positive values increase the internal mix levels for
ENVELOPE [ENV] chorus and detune from 0 up to the levels set by the
mix knobs when you attack a note. For example,
with DETUNE MIX set to 50, CHORUS MIX set to 0,
and ENVMIX set to 50, when a note is attacked, the
internal detune level will increase to 50, then decay
towards 0 with the note. The chorus level, however,
will not increase because it is at 0.
• Envelope to Rate [EVRATE]. Playing dynamics modulate

the speed of the LFO. Range is -100 to 100.
• With negative values, the rate of the primary LFOs will

be slowed down when you attack a note, gradually
returning to the value set by the RATE knob. Larger
negative values can be used with faster RATE settings
to create a fade-in vibrato effect.
• At zero, the envelope will not affect the rate of the
LFOs.
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• With positive values, the LFOs increase from the
minimum rate towards the value set by the RATE knob
when you attack a note.
A tone control for shaping the high or low end of the output
signal. Positive values roll off high frequencies (HICUT), 0 is
flat, and negative values roll off low frequencies (LOCUT). Use
the LOCUT range to reduce muddiness. Use the HICUT range
to roll off high frequencies for a softer sound. The tone control
TONE [TONE]
only affects the wet signal path. Changes to the CHORUS MIX
knob (or usage of ENVMIX) may change the apparent effect
of the TONE control. For example, a setting of HICUT 50 will
sound brighter when the CHORUS MIX knob is set at 50 versus
when CHORUS MIX is at 100 (Vibrato).
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Eventide H9 Multi-FX Algorithm Guide v12

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Eventide H9 Multi-FX Algorithm Guide v12

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Table of Contents

H9 - Algorithms and Their Parameters 3

Mix [MIX] wet/dry mixer, 100% is all wet signal

Decay [DECAY] master decay in seconds or note-based in Tempo Mode

Size [SIZE] hall size

Pre Delay [PREDLY] pre-delay in milliseconds or note-based in Tempo Mode

Mix [MIX] wet/dry mixer, 100% is all wet signal

Decay [DECAY] decay in seconds or note-based in Tempo Mode

Size [SIZE] room size

PreDelay [PREDLY] pre-delay in milliseconds or note-based in Tempo Mode

Mix [MIX] wet/dry mixer, 100% is all wet signal

Decay [DECAY] decay in seconds or note-based in Tempo Mode

Size [SIZE] plate size

PreDelay [PREDLY] pre-delay in milliseconds or note-based in Tempo Mode

Mix [MIX] wet/dry between reverb and tremolo dry signal

Decay [DECAY] decay in seconds or note-based in Tempo Mode

Tension [TNSION] Controls spring tension

Tremolo Rate [TRM-RT] input tremolo rate in Hz or note-based in Tempo Mode

Resonance [RESNCE] metallic resonance at the [HI-DMP] frequency

Mix [MIX] wet/dry mixer, 100% is all wet signal

adjusts the size of both reverbs A and B to give many different

Reverb A pre-delay for reverb A in milliseconds or note-based in Tempo

Reverb B pre-delay for reverb B in milliseconds or note-based in Tempo

mixer for A and B reverbs, in stereo this mixes stereo channels,

Resonance mixer for A and B Tone controls. Affects the sound

Reverse Reverb - [REVRVB]

Mix [MIX] wet/dry mixer, 100% is all wet signal

mixes in a standard reverb that is post reverse section for

amount of delay feedback around reverse reverb (delay amount

diffusion in the reverse build-up: set to zero for a mechanical

increase the span between low and high crossover frequencies

Mix [MIX] wet/dry mixer, 100% is all wet signal

post reverb delay time in milliseconds or note-based in tempo

Mix [MIX] wet/dry mixer, 100% is all wet signal

'Gravity' [INVGRV]/ [INVGRV]: Inverse decay mode of a really big reverb.

Size [SIZE] size of the reverb

feedback around the entire reverb structure for even larger

resonance of the two shelving filters. Affects sound unless [LO-

Mix [MIX] wet/dry mixer, 100% is all wet signal

Pre Delay [PREDLY] pre-delay time in milliseconds or note-based in tempo mode

Wobble [WOBBLE] a modulation rate that does some spooky detuning

Mix [MIX] wet/dry mixer, 100% is all wet signal

Decay [DECAY] decay in seconds or note-based in Tempo Mode

Size [SIZE] room size of reverb

PreDelay [PREDLY] pre-delay time in milliseconds or note-based in tempo mode

tremolo shape: [SINE], [TRIANG], [PEAK], [RANDOM],

Mix [MIX] wet/dry mixer, 100% is all wet signal

decay in seconds or note-based in Tempo Mode, when decay

Size [SIZE] room size of reverb

Attack Time [ATTACK] attack time of Omnipressor/gate in seconds

ratio control for the Omnipressor from traditional Gated sound,

Threshhold [THRESH] threshold for the Omnipressor/gate

the mixer to sidechain input (gain control signal). When set

Mix [MIX] wet/dry mixer, 100% is all wet signal

Size [SIZE] size of the reverb

post reverb and pre pitch-shift delay time in milliseconds or

Pitch-shifter A pitch in cents (500c=P4th, 700c=P5th, 1200c=1

Pitch-shifter B pitch in cents (500c=P4th, 700c=P5th, 1200c=1

Diatonic Shifter features twin independently-controlled pitch changers (A and B) with

Mix [MIX] wet/dry mixer, 100% is all wet signal.

Controls the ratio of the level of Pitch A to Pitch B.Note: The A/

Controls the amount of time delay of the A pitch shifted output.

Controls the amount of time delay of the B pitch shifted output.

Key [KEY] Selects the key.

Selects the scale. The supported scales are: [MAJ]-Major,

Controls level of voice A Feedback. The feedback delay length

Controls level of voice B Feedback. The feedback delay length

Selects the harmonic interval (pitch shift) for Pitch A. Set to

Selects the harmonic interval (pitch shift) for Pitch B. Set to

QUADRAVOX’s delay controls work differently from those

Key [KEY] Selects the key.

Selects the scale. The supported scales are: [MAJ]-Major,

Selects the harmonic interval (pitch shift) for Pitch C. Set to

Selects the harmonic interval (pitch shift) for Pitch D. Set to

Mix [MIX] wet/dry mixer, 100% is all wet signal.

Selects the pitch shift interval in semitone increments from