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Hello everybody - Just got back from a lovely trip out in the bay area -saw
the posts concerning Eventide looping-i commited to doing a page for the
site far too long ago discussing the applications of looping with these
machines & im wondering aloud if anyone would be willing to help html this
piece-(applications of looping -sampling alchemy (looping really became
more useable with this addition)ive worked with a 4000 for nearly 4 rs now
practically everyday -mixing mastering-live perfomances-etc..in short
practically every endeavor involving music-please direct any questions my
way regarding eventides
i am one of these sickos who has done alot of programming with these
amazing machines..and produced remakable results .btw also (predictably)
will be selling my gtr (with full sampling card-alchemy presets etc
-h3000dse -& vortex please inquire if interested ) K
At 01:17 PM 4/25/99 -0400, you wrote:
>>there a password or secret handshake or something?
>I've got a GTR4000 with no sampler installed so I can only comment on the
>basic unit as a looper. I've also got the Alchemy card, tho, whose manual
>describes some intriguing looping presets for use with the sampler
>card...which BTW is capable of storing multiple samples. I'll copy out a
>of 'em here, from the manual pages in question...but first, my $0.02 on
>secret Eventide handshake (all I have left after joining the club):
>Initiation fees are of course the first hurdle, but with the advent of
>new super processor (Orville), prices have dropped significantly...by
>$1000 for each 4000 series piece.
>Once you get your rocketship home, and after a few religious experiences
>the presets, you'll want to open the control panels and make some of your
>Programmed a few multiFX in yer day and think you know yer stuff, do ya?
>Next initiation fee: correspondence classes in audio engineering and
>math, with a minor in computer programming would be a good start.
>audio tech guy Scott Gilfix is a total champ, but a solid foundation in
>liberal and fine arts, plus YEARS spent happily and profitably hunched
>the front panels of FX from Ensoniq, Roland, tc, Korg, Lexicon, etc., has
>rendered more than about 15% of what he's told me understandable--let
>what I can find in the manuals. I admit this with dismay, fully aware (or
>least suspecting) that many if not most on this list will be much better
>than I am to deal with the almost unlimited possibilities in any
>but I gotta throw out a well-considered "Bullshit" to all the reviews
>read that talk about ease of programming--Tweaking, sure,
>NO. Even if you know the code, you gotta build everything from parts,
>creating your own specs for every detail, down to the number of digits of
>parameter resolution after the decimal point (it's simple, really:
>Want a plain-vanilla delay that's not quite there in the presets? FIRST,
>gotta built your own feedback path with one of many available mixer
>then create a knob to control it...but sorry, you still can't control
>from an external foot pedal--haven't figured out yet how to set that up
>a user-created parameter (tho it is easy on factory-preset params). Want
>add an LFO to mod something? First, you gotta add a module to convert its
>output from audio to control, then pick and configure a math module to
>it how to act or even to limit its range, THEN set up a knob if you want
>adjust it..... Powerful stuff, of course, but NOT user-friendly or
>Do I want to sell mine?
>Absolutely not, unless I lose my struggle with Orville lust.
>There IS a 4000-series mailing list...I'm on it and have seen less than a
>dozen messages in the last year, mostly about Orville...does this mean
>nobody else knows the secret handshake either? I don't know. They're not
>Presets exist for up to 5 sec of plain old stereo looping, or 10 sec
>With several MIDI pedals or a volume pedal and an expression pedal, you
>easily control feedback and input. These are built up using
>basic delay blocks that each max out at 660ms, but whose parameters have
>thoughtfully ganged on simple menu pages, so you can use a single control
>all of them. A 10-sec. delay uses less than half the available dsp
>so you can still process your loop in-house.
>The unexpanded GTR is a very rich delay machine, with many flavors of
>multitap, filtered and mod delays. It's not too tricky to add and connect
>delay units within existing presets, so you don't have to build from
>if you just want longer delay times in an otherwise cool preset, and
>mind clumsy, automatically-created menus. But woe if you want to create a
>feedback parameter when there is none (surprisingly frequent), and then
>a pedal to control it.
>Once you add the Alchemy card and chip ($400), it gets much better, since
>can now tap tempos and you'll find, for instance, a very powerful delay
>structure for rhythmic looping called Combtaps, which is four 660ms blocks
>a feedback loop (you can choose which block is the feedback tap), each
>adjustable resonance, which allows you to set up many different patterns
>these delay taps (using delay times), each with a distinct timbre, level
>pan position that will loop without losing the pattern...much less
>and friendly than the Korg DL8000's slightly less flexible but much
>cross-delay/multi-tap version of the same idea, which has rhythm-pattern
>presets...but if you've got the time and the training, you could use this
>algorithm to build something even cooler on the 4000, with BPM displays
>look-up tables for certain patterns. You could probably also build your
>CombTaps or something similar without Alchemy......beyond me, I'm sorry
>With Alchemy and a sampling card:
>Here are a few Preset descriptions: My comments in ():
>1.TAPTEMPOLOOP xfade (means that it could be audio-faded in or out at a
>preset rate with any other patch that also uses less that half the
>Simple TapTempo loop. You may start and stop the counter at will. MOD1 is
>volume pedal to the loop input. All these loops have a <Door> param - this
>the level of source input to the loop. They also have integral volume
>before this door. In general, with all the looping presets, any changes
>to the delay time will be less prone to artifacts if entered via the
>Stereo in, Stereo out.
>3. MEMNOSENE 1 xfade
>TapTempo Loop with multiply and skew. This flavor of loop manipulation
>you multiply the loop length. For best results, after you TT the length,
>the loop repeat two or three times, prior to doing a multiply. Note that
><Multi> is set to one, each <count> will add to the loop a duration equal
>the original length. Also beware of large <Skew> values to start with, as
>this is subtracted from the loop length and may clip off your source.
>the skew param should not be "spun' but keyed in.
>Stereo in and out.
>6. MEMNOSENE crystals--#3 with "Crystal echos" ( a cool pitch-shift
>8. BPM LOOP psycholev
>This version of "BPM LOOP..." adds stereo mod delays, set here with
>Stereo in and out.
>12. BPM DNA LOOP xfade
>This BPM loop has two mono loops, each with independant input levels.
>Stereo in and out.
>15. TT BPM LOOP xfade
>Tap the tempo in 1/4 notes which gives BPM. This is multiplied by 4 to
>BARS. You may then set the number of bars to get loop length.
>Stereo in, out.
>16. TT BPM LOOP verb...adds a reverb.