RE: Eventide4 KIM

["italo de angelis" <italoop@hotmail.com>]

>From: Kim Flint <kflint@ati.com>
>Reply-To: Loopers-Delight@loopers-delight.com
>To: "'Loopers-Delight@loopers-delight.com'"  
><Loopers-Delight@loopers-delight.com>
>Subject: RE: Eventide4 S.Schreirer
>Date: Fri, 15 Sep 2000 13:05:03 -0700
> >>I understood from eventide that it can only do sampling OR 
>delay/looping.
> >>You can't use both functions at once for the same chunk of audio. >kim
>Ok KIM let me try to show you and all LD people  how an Eventide 
>4000/7000/Orville works:
when you start making a program from scratch, via the on board patch 
editor 
and display or with the much better, faster and more comfy VSIG on a 
windows 
PC, you see ONLY input and outputs modules ; they have 2 ins/2outs on 
4000/7000s and 4ins/4outs on Orville. Then you can start importing modules 
from the huge and costantly growing library. This is divided in 3 
different 
categories, AUDIO – CONTROL – MATH.
AUDIO : this has the following libraries, Delay modules, Dynamic Modules, 
Filter Modules, Mixer Modules, Pitchshift Modules, Oscillator modules, 
Detector Modules and Reverb Modules. Here you find things likeall pass 
filters, modulation delays, micro delays, reverse delays, samplers, multi 
tap ddl, pitch shifters, diatonic ones,  parametric eqs, harmonics 
extractors, phasers, mono & stereo mixers with up to 100 channels, FIR 
filters, different quality verbs,
white noise generators and oscillators to build any kind of sinth and post 
production noise like storms, airplanes, ambients and you name it… 
detectors 
that can understand the input notes as pitches (note, frequency, period) 
and 
its level, useful for incredible dynamic control of events, like starting 
a 
looped sample only when you hit a C5 and  read it backwards when you play 
F#3 on you gtr or via midi, if you want, or read it at different speeds 
that 
go from 1% to 400%, 100% being the original speed, or transpose the sample 
without affecting the pitch and way much more.
CONTROL: here you get these libraries, Bridge Modules, Control Process 
Modules, External Modules, Interface Modules, Miscellaneous Mod. These 
boxes 
, perform many different tasks, they can convert audio into control 
signals 
or vice versa, changing their sample rates, perform switching, selecting 
and 
manipulation of control signals, insert external controllers like pedals 
footswitches , midi controllers, midi clock, midi note number etc, they 
can 
also totally customize the user interface…the way the unit and the display 
look and feel; so users can build screens with different ways of 
displaying 
parameters, like numeric knobs, text knobs, analog style vertical or 
horizontal faders, knobs, vu meters, numeric and text monitors , menupages 
in which put parameters, graphics on which user can make wavw shapes of 
audio signals generators, control behaviours and tons of other things.Add 
spectrum analyzers, Oscilloscopes even sequencers of  of control or 
modulation signals…check this thing about sequencer : while recording a cd 
at the Rhythmic Music conservatory in Copenhagen , last May…the project 
was 
the use of advanced signal processing techniques on music, both acoustic & 
electric. We had this beautiful singer, Astrid, that played a nice chord 
progression on the piano…I heard it and said that it would have been even 
nicer if we had a choir singing the chords…so I built this preset in my 
Orville: mono input>digital mic preamp>4band param.eq>sampler>4 voice 
shifter>hi quality verb (better than a Lexi pcm90)> stereo mixer to have 
verb in parallel. Then put an external switch and 4 sequencers with a 
table 
of 56 steps each: every step was an interval for each shifter, and the 
overall number depended on how many chords were in the progression. So 
astrid sang a root tone, sampled it and started improvising on top of HER 
choir, changing the chords at will, just by pushing a footswitch, with eq, 
verb and levels all under control…real time…and I have to tell you…the 
tune 
came out simply MERAVIGLIOSO!!! And all this happened in just one of the 
two 
Orville processors.
Sorry if I’m getting lenghty but wonders deserve words when you have 
nothing 
better to describe them…back on track.
MATH : libraries include Control Math Mod., Math Mod, things that perform 
mathematics on audio, control and modulation signals, the 3 kind of 
signals 
users can work on into Eventides. Here you have functions like logical Or, 
logical AND, log. TRUE/FALSE, sontol sine/cosine, freq>pitch converters 
and 
viceversa, linear to dB converters and vicv, audio gain multiply, bit 
quantizers, log functions, amplitude modulators and other dozens of 
usefuand 
often rarely user controllable functions in any other unit on the market.
Now if you know how to do it( 1000 presets are a great school to learn 
it!) 
you can put together boxes out of the 220 resident in the libraries, 
connect 
them, customize your interface, set up almost unlimited external control, 
working on modulation, control and audio signals like nowhere else…I’m 
sure 
you’ll agree, Kim.
Now LET’S GET TO LOOPING AND SAMPLING:
4000s have only 10,5 seconds of delay memory, 7000 has 43sec, Orville has 
43sec in dspA, 43 in dspB AND a sampler board with 173 sec at 48KHz/24 
bit. 
The same sampler board can be added to 4000 (like a 4500) and to 7000 
(…the 
upcoming 7500). When you ad this option you get a few new modules in the 
library, Sampler module and Long delay module, which is a delay line that 
ONLY uses the sampler memory, so it can go up to 173 sec.
Now, when you make a program you can put many modules of the same kind 
into 
it; for example you can put 6 Longdelay modules into the same program, 
each 
addressing 25 seconds od memory.
What follows is the memory that delay and sampler modules can address that 
is freely selectable by users:
MODULE               4000 units         7000/Orville
Delay…………………………………..1ms>660ms…………………....1ms>32500ms
Microdelay…………………………….0ms>660ms…………………….0ms>1360ms
Moddelay………………………………0ms>660ms……………………...0ms>10920ms
Reversedelay…………………7000/orville ONLY……..5ms>32500ms
Reverseshifter……………………1ms>660ms……………………1ms>32500ms
Delaysampler…………………………7500/orville ONLY………………5000ms>325000ms
         This module uses delay Memory, not sampler board memory.
Sampler………………………1000ms>173000ms***..……….1000.ms>173000ms
***: 4000s have 2 different optional sampler boards.  One has max delay of 
87 sec, the top other has 173 sec.
By the way, Orville and 7000 manuals and Vsig editor are downloadable at 
www.eventide.com, for those who want to get deeper and fuller knowledge of 
this all.
When you program you can choose how much delay memory you have in each of 
these modules, up to the max allowance of the table and/or how much memory 
others modules have already allocated. Reverbs, pitchshifters and some eqs 
need some of this memory, very little. You can strip 2 or more modules of 
the same (or different) kind to get more audio memory: in the standard 
4000 
you’d have to put a 2 ch mixer in front of a line of 10 delays modules, 
take 
the output of the last one back to input 2 of the mixer to have a feedback 
line, all just to have a simple 6600 ms delay line, with infinite repeat 
(=100%) feedback, controlling input with an ext.pedal…cumbersome!!! this 
shows how mandatory is the sampler board to loop audio on 4000s. 7000s and 
Orville can address memory in the delay/sampling modules.So you can bulid 
programs with different mix and flavours of delayloopers and sampleloopers 
at the same time, with pre and post processing that can be dedicated to 
different lines or common. I wish Eventide would add saving audio to 
external medias like a Zip, a flash card or whatever the computer industry 
is making good and cheap today.
The looping features DO NOT have undo, copy, multiply and other features 
of 
the Echoplex, even though Scott Gilfix has done nice programs in which you 
can undo and double loop length by using buffer delays.
YES Kim, you cannot do looping and sampling on the same audio chunk, 
meaning 
that a sampler module does sampling,editing and looping of the sample and 
a 
delay module does delay style looping…BUT you can put both in the same 
program and get both flavors of power…does it hurt anybody? Like it?
Looping in the Eventides is more delay based style, without access to the 
datas in the memory, as you ,Kim, correctly pointed out; but still 
extremely 
powerful. The sampler allows time stretch/expansion without pitch change 
and 
pitchshift without time alterations, all in real time; samples can be 
edited 
with start and end points, reversed and looped and their parameters  
modulated by anything…imagine a 10 sec.looped sample of an E string, down 
a 
5th, read at 50% speed with its pitch and readingspeed modulated by 
pedals, 
midi controllers, a midi sequencer, a drum machine beat or even the 
pitches 
or dynamics of a guitar player’s touch? Where else and of such a quality 
in 
a dedicated hardware processor?
I personally did programs with delay loopers and samplers mixed together 
(into the same program), with different memory amounts and dedicated 
pre/post processing…things that before were costing like 3 Orvilles at 
least; think of how many delay, looping, sampling and processing units you 
did need to do a program like these, not counting mixers and cables and 
weight to carry around, different manuals to read and so on…
Now you can do it all at a MUCH lower price, better audio quality 
(24bit/96Khz: the max delay/ looping/sampling times cut in half when you 
use 
sampling rates higher than 48KHz!!!), save your audio artwork on cd or pc 
for further use, program the unit on a confortable pc with its free VSIG 
editor,  control the unit with any kind/any style of remote box, including 
their new EveNet remote. Plus the factory still produces H3000s, from 
almost 
15 years!!! Nobody does that in the digital market. This means update 
softwares coming out in the years = units that grow with you. As a former 
H300D/SX and DSP4000 user I would swer by this, considering how bigger and 
more powerful a 7000 or the monster Orville is; but still they make 4000s 
and new software for them, like the Ultrashifter algorithm derived from 
Orville that is a “must hear” real time formant resynthesis tool…no more 
Mickey  Mouse crap out of your instruments, or you can still do that if 
you 
want. With such a care I wouldn’t be surprised if in some time these units 
will have new softwares that will allow dedicated looping features like an 
Echoplex, Jamman or Repeater, including those 2 millions other features 
that 
nothing else has.
Kim I said that an Orville and a Repeater , if hopefully the second will  
definitely do what they say on paper, make up the best 
looping/sampling/processing and audio mangling hardware workstation in the 
universe and I swear by this, because:
1) saving audio on cards or recording it on a digital standard media via 
s/pdif and AES/EBU should be mandatory in year 2000.
2) trust a reliable software and hardware should be easy  in year 2000, 
when 
you’re on stage, improvising and looping in front of people that pay 
tickets 
to be there ….I’m a musician that does live and studio work, being the 
first 
very inner resources demanding, especially when you use these toys.
3) see a product come to life and growing with updates that implement new 
and exciting functions, killing old bugs and keeping the box up to the 
users’ demands , dropping prices even if this means totally changing the 
unit from almost scratch…
All this and more I don’t see from Gibson!!! And believe me, I have 
nothing 
personal with you! I think you did a wonderful job with Eds and still 
doing 
it, including keeping this awesome place open on the Net. You are an 
invaluable human and tech resource to any interested human looper cat, but 
you have to agrre that in 10 years companies have been doing incredible 
boxes and cheaper than before…isn’t it time to update old boxes a bit?
What about a super ED with some more features? I know it’s hard to have 
companies listening to you and us but still the question remains. Last 
November i’ve been again in Denmark for a factory tour at TC Electronic, 
you 
know them for sure! When I asked them about having more delay memory in a 
G-Force or a Fireworx to do looping, you know what was their dumb answer? 
“We don’t see why people would need that! We still make the outstanding 
TC2290 that can go up to 64 sec!”…yes…blah blah blah for almost the price 
tag of an Orville you get a miserable mono delay line with impossible to 
find memory to reach max power!!! We already know this crap. Right?
Don’t misunderstand me…I’m honest…when I write a product rewievs on “AXE”, 
here in Italy, I will say that a product sucks just because it sucks, man! 
And I payed for all my equipment!!! No sponsors, no endorsements no 
fucking 
help!!! Damon, you’d better to put out something good…we’re all waiting 
for 
it and sure we know what we need for the money we pay!!!
Sorry to have been this long and probably boring but maybe this could be 
useful to somebody…
My best regards to Kim (no fight, sorry for my old posting) and to 
everybody 
here on Loopers Delight….ITALO



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