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Hands On – Eventide H3500 (part 5)


Stereo Shift

Pitch shifting is a intricate business and sometimes, understandably, it affects
the timing of the signal. If you had two pieces of pitch shifting equipment
in separate boxes and thought you could use them to process satisfactorily a
stereo signal then you would soon be thinking again. The deglitching circuitry
in this algorithm takes both channels into account and makes sure that both
stereo image and mono compatibility are maintained. Of course, the parameters
of both channels are adjusted simultaneously.

Reverse Shift

This is where the ultimate in subliminal messages starts. If you want to achieve
a Parental Advisory sticker on your CD then just speak a few innocent words
into this. Your speech will be chopped up into segments and the segments played
in reverse and pitch shifted. If you follow Eventide’s recommendation,
you’ll add variable splice length and feedback to this and become the subject
of legal attention in the US in no time at all.

Swept Combs

Were are moving away from simple pitch shifting and into other realms of effects.
Here we have effectively six digital delays, each with control over delay (up
to 0.25s), modulation and feedback. The ‘combs’ part of the title
refers to the comb filtering effect produced when a signal is mixed with a delayed
version of itself. Comb filtering simply means a series of very deep notches
in the response. The fun starts when you start to modulate the centre frequencies
of these notches, and if you enter expert mode then you will find that each
delay is separately adjustable.

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Swept Reverb

Let Eventide describe this one… “You’re in a cathedral. There
is a wonderful sound ringing through the air. Now the room starts to move while
you stay still. It moves forward, side to side, up and down and then around
in circles and somersaults.” The sixties had nothing on this!

Reverb Factory

Just one of the H3500’s ‘factory’ algorithms, this is where
you can get your hands dirty and manufacture the sound you want. This one consists
of six delays, gate, EQ and reverb. You should be able to achieve a good variety
of gated reverbs here with powerful control over initial reflections. You get
to control twenty-five parameters here, including Expert mode.

Ultra Tap

This uses a tapped delay line – a delay line with a number, in this case twelve,
of sequential outputs and a diffuser. The aim is to give a dense field of delays,
with the timing and relative strengths of the delays being user adjustable.

Long Digiplex

It sounds like a name for something clever, but this one is really simple.
It’s just a delay with feedback, similar to just about any digital delay
you are likely to come across. To make it just that little bit more special
Eventide have added a Glide function which allows the delay time to be changed
manually, smoothly and without glitches.

Dual Digiplex

As above but here there are two separate delay lines.

David Mellor



In this course, trainer Joe Albano explains how sound interacts and is modified by the listening environment. Learn the powerful influence of acoustics on our perception and the propagation of sound.

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David Mellor