This algorithm contains a pitch shifter, two tunable filters (low pass, high
pass or band pass), two delay lines and a white noise generator. You can connect
these modules together in pretty much any way you like to produce results that
are “only limited by your imagination”. I would say that this is one
for the experts, although non experts will fully appreciate the various factory
presets that have been based on this algorithm.
Just when you have thought of, designed and painstakingly constructed a clever
effect, put it on a record and sold a million copies (you hope!) someone will
put it into a box and give the whole world access to it. Paul Hardcastle’s
‘19’ effect may currently be old hat, but with an H3500 you are ready
for its revival in a couple of years time.
This is probably the densest reverb on the H3500. If you are a prospective
purchaser and are wondering just how good the H3500 is as a reverb unit then
listen to this one. It’s definitely good, better than many, but it’s
not going to replace a top-of-the-range Lexicon just yet. An interesting idea
is the control of the position of the sound source within the simulated room.
We are used to mixing in a bit of reverb to give the required effect, but wouldn’t
it be nice if more units offered the means effectively to choose a room and
Yes, the Electric Light Orchestra is back! The vocoder is a fascinating tool
which superimposes the harmonic characteristics of one sound onto another. One
way to do it is to direct the sound of your guitar through a plastic tube into
your mouth and mic it up. You can get your guitar to talk as long as you don’t
mind losing a few fillings. Another way to do it is to buy or hire an Eventide
and dial up Algorithm 115. The left input is for the sound you want to process,
the right input is for the ‘articulating’ signal.
This pitch shifter is optimised for very small pitch shifts without noticeable
artifacts. it also has an additional delay tap for each pitch shift channel
giving four outputs which can be panned anywhere in the stereo field. Although
optimised for small shifts, the total range is plus or minus three octaves.
Another multitap delay line, this time with each tap connected to a separate
band pass filter. The outputs of the filters are combined in a stereo mixer.
MIDI control allows easy setting of the centre frequencies of the filters by
playing notes on a keyboard.
This algorithm can create sounds of its own! Short delays with feedback are
used to create resonators which give a sound similar to singing into a piano
with the sustain pedal down (something I like to do at least once every day!).
The pitches of the six notes can be controlled via MIDI, so you can play the
H3500 like a synthesiser from your keyboard.