Reverb Factory: Simply put, this algorithm gives you access to the critical parameters that give a digital reverb its characteristics and enables you to create an infinite number of different types of reverb. There is a gate with a variable threshold that allows for two decay times. Soft sounds will trigger one decay time and loud sounds will trigger the other decay time. Each decay has its own parametric EQ.

Ultra-Tap: This is a one-input two-output Tap delay algorithm. Think of it as a delay program with a maximum 1.4 second delay time. The 1.4 second delay is the combination of 12 separate delay lines in series with each other. Each delay line has independent adjustments for level and left/right pan. These are the "Taps" to the delay. Now imagine panning the odd numbered taps to the left channel and the even numbered taps to the right channel. The first segment of the input plays back in the left channel, the second in the right, the third in the left, etc. This is just one of an infinite number of ways to use the taps. This is another algorithm that can keep you busy for a week just exploring the possibilities.

Long Digiplex: This is simply a single delay line. Maximum delay is 1.4 seconds. You can add feedback to this delay to get a 1.4 second loop going that will never end, and it is extremely clean. The H3000 has 16 bit resolution with a sampling rate of 44.1 KHz.

Dual Digiplex: Like the Long Digiplex, but this uses two separate delay lines with a maximum delay of .7 seconds for each. You can use one or two inputs. Left channel output is delay one, right channel output is delay two.

Patch Factory: Use this algorithm to create any number of different sounds or effects. You get a pitch shifter, two filters that can be lowpass, highpass, or bandpass, two delay lines, and a white noise generator. You are only limited by your imagination with this one.

Stutter: If you haven't figured it out yet, the H3000 is a sampler of sorts, with a sample time of 1.4 seconds. The Stutter algorithm creates the common effects that sampling keyboards are used for, but without the keyboard or a sequencer. With the punch of a key, you can have a sample played back with varying pitch changes. There are two sets of stutter parameters. The length of each segment can be up to 1/2 second long and each stutter segment can be repeated up to 16 times. You have access to several panning and pitch sweep selections that are already programmed in the unit. Approximately 40 adjustable parameters offer a wide variety of effects from this algorithm.

Time Squeeze: This is the algorithm available on the H3000B only. If you have a reel to reel that supports frequency controlled external vari-speed, the H3000B can automatically speed up or slow down the reel to reel and adjust the pitch accordingly to give you a 64 second spot in 60 seconds with nearly perfect pitch change. It makes the process simple with questions on the LCD readout like, "How long is your program?" and "How long do you want it?". Pretty nice!

The H3000B version 2.1 comes with 80 factory programs in addition to these 14 "master" programs or algorithms. Some of them are awesome and it's hard to believe they were created using one of the 14 algorithms. You are given plenty of memory to store well over 100 of your own programs. All of the programs that utilize the pitch shifter include access to a couple of de-glitching parameters that help to give this unit a very clean pitch shift.

The "Ultra-Harmonizer" will be around for a long time and shouldn't become outdated very soon at all. All of the parameters are fully MIDI controllable, not just MIDI program change. 
As for its uses in radio production, the H3000 offers more creative avenues than the average person will find time to use. If you're going to upgrade your Harmonizer or special effects processor, this is the unit to do it with. Give Eventide an A plus!


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