Eventide 141045 User Manual

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Eventide

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Eclipse

User Manual

Part number: 141045 Manual Release 1.10 9 October, 2001  2001 Eventide Inc., One Alsan Way, Little Ferry, NJ 07643 USA

Harmonizer is a registered trademark of Eventide Inc. for its audio sp ecial effects devices incorporating p itch shift. Eclipse and UltraShifter are trademarks of Eventide Inc.

Windows is a trademark of Microsoft Inc, ADAT is a trademark of Alesis Inc., CompactFlash is a trademark of SanDisk Corporation.

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Eclipse User Manual - Contents

The How’s and Why’s of This Manual........................................................................................................................3

OVERVIEWS, BASIC INFORMATION, AND QUICKSTART.......................................................4

HE BIG PICTURE – A MUST READ..........................................................................................................................4

NOBS, KEYS, AND JACKS .........................................................................................................................................5

The Front Panel...........................................................................................................................................................5

The Back Panel...........................................................................................................................................................7

ETTING AROUND AND ALTERING PARAMETERS.................................................................................................9

The “Areas” (e.g. – Levels, Program, Setup, etc.).........................................................................................................9

Understanding the Display and Soft Keys...................................................................................................................10

The Bottom Line of the Displa y ......................................................................................................................................................................................10

The Top Line of the Display.............................................................................................................................................................................................11

Altering Parameters...................................................................................................................................................11

QUICKSTART...............................................................................................................................................................12

Hooking Up To the Outside World............................................................................................................................12

Analog Connections............................................................................................................................................................................................................12

Digital Connections ............................................................................................................................................................................................................. 12

Choosing Effects.........................................................................................................................................................13

Altering the Effects.....................................................................................................................................................13

Tempo.................................................................................................................................................................................................................................... 13

Tempo-Controlled Parameters: T_DELAY, T_RATE, etc.......................................................................................................................................14

Tutorial 1: Loading a Program, Setting the Tempo, and Assigning Modulation..........................................................14

Tutorial 2: Creating a Program “from Scratch” and Assigning a Hot Key..................................................................17

OPERATION..................................................................................................................................... 18

Mounting and Handling.............................................................................................................................................18

Memory Cards...........................................................................................................................................................18

The Display Brightness and Click Features................................................................................................................18

GLOBAL SIGNAL FLOW AND LEVELS......................................................................................................................18

Using the Meters........................................................................................................................................................ 19

Input Mode (Global Stereo or Global Mono?)............................................................................................................19

Global Wet/Dry Mix...............................................................................................................................................20

Global Levels.............................................................................................................................................................20

Bypassing and Muting................................................................................................................................................22

IGITAL SETUP..........................................................................................................................................................22

Digital Input..............................................................................................................................................................22

Internal and External Clock Source...........................................................................................................................23

Using Higher Sampling Rates Disables Some Programs ............................................................................................................................................. 24

Digital Output...........................................................................................................................................................24

ADAT Output or Two-C h annel Optical Output? ....................................................................................................................................................... 25

ROGRAM OPERATIONS - LOAD, SAVE, REMOVE, ETC.......................................................................................26

Sorting and Loading Programs...................................................................................................................................26

Loading Programs From MIDI and Using MIDI Maps ............................................................................................................................................27

Saving and Updating Programs..................................................................................................................................27

Saving Programs .................................................................................................................................................................................................................. 27

Updating Programs ............................................................................................................................................................................................................. 28

User Groups .........................................................................................................................................................................................................................28

Removing Programs....................................................................................................................................................28

Removing ALL Your Saved Programs............................................................................................................................................................................ 29

Checking free space in internal memory or a card........................................................................................................................................................29

Copying and Protecting Programs................................................................................................................................29

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Eclipse User Manual - Contents

Naming Things – The Mechanics .............................................................................................................................. 29

ARAMETERS..............................................................................................................................................................30

Hot Keys ...................................................................................................................................................................30

Assigning Hot Keys .............................................................................................................................................................................................................30

Renaming Hot Keys .............................................................................................................................................................................................................31

Deleting Hot Keys ...............................................................................................................................................................................................................31

Altering Parameters in the PARAMETER Area ................................................................................................... 31

Master Parameters: M _LEVEL, M_DELAY, M_FBACK, etc..................................................................................................................................31

Tempo-based Parameters: T_RATE, T_DELAY, T_TAP, etc.................................................................................................................................32

Envelope-following Parameters: SENS, ATTACK, and DECAY............................................................................................................................33

LFO Parameters ...................................................................................................................................................................................................................33

Sends and “Manual” Parameters.......................................................................................................................................................................................34

Routing and Levels Between Effects Blocks.................................................................................................................34

Routing...................................................................................................................................................................................................................................34

Wet/Dry Ratio......................................................................................................................................................................................................................35

Output Level .........................................................................................................................................................................................................................36

Bypassing Effects Blocks....................................................................................................................................................................................................36

Loading Different Algorithms into Effects Blocks.......................................................................................................36

MODULATING PARAMETERS VIA THE MODULATION BLOCK: LFO, ADSR, E

Setting Up the Modulation Block............................................................................................................................... 39

More on modulation...................................................................................................................................................40

External Controllers..................................................................................................................................................41

Dedicated External Controllers..................................................................................................................................42

MIDI Setup..............................................................................................................................................................43

TORING AND LOADING SETUPS............................................................................................................................ 45

TILITIES....................................................................................................................................................................46

Transmitting and Receiving Data via the Serial Port..................................................................................................46

Dumping Data Via the MIDI and Serial Ports........................................................................................................46

Fixing and Initializing Internal Memory....................................................................................................................47

Fixing Strange Behavior, Freezes, Etc........................................................................................................................48

Formatting Memory Cards.........................................................................................................................................48

Updating Software..................................................................................................................................................... 48

Approved Compact Flash Cards................................................................................................................................50

NVELOPE, MIDI, PEDALS, AND MORE.................................................................................................37

Patching a Parameter to t he Modulation Block’s “Modules”......................................................................................................................................37

Scaling Modules and Select ing Modulation TYPE........................................................................................................................................................38

The Modulation Block ........................................................................................................................................................................................................39

The Rear Panel Pedal Jacks ................................................................................................................................................................................................44

Creating an “Upgrade Card”..............................................................................................................................................................................................49

Updating with a Memory Card..........................................................................................................................................................................................49

Installing OUpdate...............................................................................................................................................................................................................49

Upgrade via the OUpdate A pplication ............................................................................................................................................................................49

Finding Out The Curr e nt Software Version...................................................................................................................................................................50

ELECTRICAL SPECIFICATIONS...................................................................................................51

Sample Rates .........................................................................................................................................................................................................................51

Frequency Response ............................................................................................................................................................................................................51

Digital Inputs/Outputs.......................................................................................................................................................................................................51

Analog Input (XLR Balanced Inputs)..............................................................................................................................................................................51

Analog Output......................................................................................................................................................................................................................51

Remote Control Inputs.......................................................................................................................................................................................................51

MIDI Connections...............................................................................................................................................................................................................51

Power......................................................................................................................................................................................................................................52

Size ..........................................................................................................................................................................................................................................52

Weight:....................................................................................................................................................................................................................................52

WARRANTY INFORMATION.........................................................................................................53

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The How’s and Why’s of This Manual

Of course you have more exiting things to do than to read this manual. For one thing, you have a fabulous new Eclipse waiting to effect all those sounds so badly in need of effecting. While the Eclipse is engineered for intuitive, user-friendly operation, reading this manual, either in part or in whole, will help clarify and illuminate its vast array of powerful features. Here’s how we’ve made that as painless a process as possible:

• The Overview and Quickstart section will get you up and running fast, with references to the more in-

depth discussions contained in the Operation section. If you’re really in a hurry, skip to the tutorial on page 14...

• The Operation section will answer all of your in-depth questions with a complete, tedium-free discus-

sion of all of the Eclipse’s potent features.

• The Table of Contents and Index will direct you to topics of interest with dispatch. There is only one convention employed in the manual that might need explaining. We’ll write things like:

The display brightness is determined by

SETUP page 2 DISP (BRIGHT). Its values range

from 0 (the dimmest) to 15 (the brightest).

To change the brightness, you would first press the the font (character style) used for the word “

SETUP” looks something like

SETUP key. Notice that

the font on the faceplate of your Eclipse. Because it says “page 2,” you’d press the

2.” Notice the little “ screen page 2, not

2” in the lower right corner. Notice that this refers to

User Manual page 2 !

Then you would press the soft key below the phrase

SETUP key again to get to “page

DISP. Again, notice

that the font looks (something) like the font on the display. Then you would press the soft key under Finally, you would spin the knob to select a brightness between

(BRIGHT).

0 and 15.

With that said, go read… then play… then read some more… then pla y some more…

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Overviews, Basic Information, and Quickstart

You bought a serious piece of machinery, friend. A benefactor of Eventide’s venerated Orville and H3000 line of effects processors and a quarter century of Eventide’s digital audio excellence, the Eclipse boasts…

• The world’s richest sounding and widest array of effects

• A global tempo feature that synchronizes LFOs, delay times, and other time-sensitive pa rameters to the

music being processed

• Two configurable effects blocks for serial, parallel, or dual mono processing

• An arsenal of LFOs, envelope followers, and ADSRs that can be patched to any parameter

• Analog and AES/EBU, S/P DIF, optical, and ADAT digital inputs and outputs for total flexibility

• 24bit resolution for superb fidelity at up to 96kHz sampling

• MIDI control of parameters for inspired creativity

Read on to learn how to put all this muscle to use...

The Big Picture – A Must Read

The Eclipse is conceptually simple. At any given time:

• A “program” is loaded. Programs such as delays, reverbs, and pitc h shifters (among many others) do the

effecting.

• A “tempo” is running (unless turned off!). The Eclipse derives the tempo

to its MIDI In port or from the front panel

TAP key (there are a few other ways to set the tempo). Many parameters

such as LFO rates and delay times change to synchronize with the tempo

from a sequencer connected

• A “modulation block” is modulating. The modulation block contains LFOs, envelope followers, etc.,

that exist independently and in addition to any LFOs, envelope followers, etc. that are constituents of programs. You can patch parameters from programs to these LFOs, envelope followers, etc.

• A suite of “global parameters” defines the Eclipse’s overall behavior. Global parameters are such things

as input and output levels, digital audio speeds and protocols, MIDI channels, and so on.

You load and save programs with the PROGRAM key, and a program’s most important parameters are located under the (series, parallel, etc.) accessible with the

HOT KEYS key. A program contains two “effects blocks” and the routing between them

PARAMETER key (some programs only use on e of the two av ailable effect s blocks). An

“effects block” runs one of the Eclipse’s core set of “algorithms.” The algorithms are described in the separately provided “Eclipse Algorithms” document. Put another way:

• A program, such as

Desert Gtr contains one or two effects blocks

and the routing between them (series, parallel, etc.).

• An effects block runs an “algorithm,” such as polydriver or diff-

chorus

• You load and save programs under the

PROGRAM key.

• You alter the routing between and the parameters of effects blocks

under the

PARAMETER key.

When it comes to routing signals inside the Eclipse, it’s helpful to think of the effects blocks and the routing between them as existing within the “DSP.”

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• All of the levels and signal selection outside the DSP is addressed in the LEVELS area and the SETUP

area. Refer to the “Eclipse System Signal Flow” sheet provided in the pocket of this manual to “look” at the signal flow outside the DSP. You cannot save these settings as parts of programs.

• All of the routing and levels inside the DSP are addressed in the

PARAMETER area. Refer to the “Pro-

gram Signal Flow” sheet provided in the pocket of this manual to “look” at the signal flow inside the DSP. All of these settings are saved as parts of programs.

This is as confusing as it gets, so if you have this straight you’re all set.

Knobs, Keys, and Jacks

... certified ergonomically sound after extensive testing on free-range humans.

The Front Panel

1) POWER Toggle this toggle to “1” to turn the Eclipse on. Toggle this toggle to “0” to turn the Eclipse off.

PROGRAM Press this key to load and save programs. ! see page 26

3) HOT KEYS Press this key to access the most salient parameters for the current program. Additionally, assign any parameter to the

HOT KEYS area for quick access. ! see page 30

4) LEVELS Press this key to alter input and output levels, system wet/dry mix, system routing (not to be confused with the routing between the two effects blocks that comprise a program), and metering parameters.

! see page 18

5) SETUP Press this key to access system parameters such as display, digital rate and clock source, MIDI configuration, and much more.

6) Display This is your window on the inner workings of the Eclipse.

7) Soft Keys Each of the four soft keys corresponds to the bracketed phrase in the display directly above it. Pressing a soft key allows the parameters associated with that soft key to be altered.

8) Keypad The keypad is used to enter parameter values. Negative values can be entered by pressing the

+/- key before or after the number. Numbers entered will not “stick” until you press the ENT

key. Use the increment or decrement keys (the little triangles) to change parameter values by small, sensible amounts.

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9) Knob Turning the knob changes parameter values.

10) Meter Displays the signal level at various points throughout the signal path. It’s useful both for optimizing sound quality (you always want a high signal short of clipping) and for troubleshooting. You can alter the point in the signal flow at

which the meter is “inserted” by pressing

(source). ! see page 19

11) OVERLOAD

his LED lights to let you know that the signal being moni-

tored by the meter (see above) has clipped (overloaded). Clear the

OVERLOAD LED at LEVELS meter <OL CLEAR>. This

LED is cleared automatically when a new program is loaded.

12) Rate & Source The LED that is illuminated tells you the rate that the Eclipse is sampling at. The indicates that the Eclipse is taking its clock from the digital device connected to the Eclipse’s digital input.

! see page 23

13) TAP Press the key once to check the current tempo or press it rhythmically to change the tempo. Many of the Eclipse’s time-based parameters will automatically synchronize to the tempo

LEVELS meter

EXT LED

! To define the tempo, see page 13. To learn about parameters that synchronize to the tempo see page 32.

14) PARAMETER Press this key to access all the program parameters – those found in the simpler

HOT KEYS

area and many more! Change a program’s underlying alg orithm, change the routing between effects blocks, or change the parameters of the underlying algorithms themselves.

! see page 30

You can alter the program-independent “modulation block” under this key as well.

! see page 39

15) BYPASS Press this key to bypass the effects. This key can be made to bypass the entire unit, just the DSP, or it can mute the

Eclipse, depending on

! see page 22 for more on Bypassing and Muting

SETUP MODES (BYPASS).

16) MEMORY CARD Insert a compact flash card into this slot to save and load programs. Remove a card by pulling it out (but be sure the

BUSY light isn’t illuminated when you do so!). ! see pages 18 ,48 and 50

17) BUSY This LED illuminates when data is being written to or read from the memory card. If no memory card is inserted,

BUSY illuminates when MIDI or serial data is transferred to or

from the Eclipse. This can be a handy troubleshooting tool!

EDITED This LED illuminates when you’ve made changes to a program as a reminder to consider

18) updating the program before loading another one. If you do not update you’ll lose any changes next time you load the program.

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The Back Panel

A) AC Port Connect an IEC standard 3-prong AC power cord here. The center post is chassis ground. B) Analog Audio Inputs

The Eclipse’s analog inputs accept either unbalanced 1/4-inch connectors or balanced XLR connectors. Pin #1 is ground, pin #2 is positive phase (hot), and pin #3 is negative phase (cold). To “unbalance” the XLR jack, use both pins #1 and #3 as ground and use pin #2 as “hot.” If either pins #1 or #3 are unconnected, you will get more noise and hum than signal! You can connect a guitar to the 1/4-inch inputs, but the input level will need to be boosted (

LEVELS {IN GAIN}).

1/4"

C) XLR Analog Audio Outputs

These analog outputs accept balanced XLR connectors. The same pin layout and “ungrounding” procedure described above apply here as well.

D) 1/4-inch Analog Audio Outputs

These analog outputs accept balanced 1/4-inch connectors. The sleeve is ground, the ring is negative phase (cold), and the tip is positive phase (hot). Using an unbalanced 1/4-inch connector will reduce the output by 6dB.

E) XLR Digital Interface

Use these connectors to connect professional digital audio gear to the Eclipse. These cables are differential with a shielded twisted pair. To select the XLR input as the digital source, go

SETUP DIG-IN (DIG-IN). If you want to synchronize the Eclipse to this digital input

(you usually will), you will want to set SETUP DIG-IN (CLOCK) to DigIn as well. The XLR output is always active, but the format of the data being sent out it can either be Pro or Cns

(consumer) as determined by SETUP DIG-OUT FORMAT (CS-TYPE). You will probably want

this set to Pro if you’re using the XLR output as your main (or only) digital output. We recom-

mend the use of purpose-manufactured Digital Audio cables, which have low capacitance and controlled impedance for carrying AES/EBU signals. Ordinary microphone cables will usually work at 48kHz, but may reduce range and add jitter and distortion to the signal. It is unlikely that microphone cable will prove satisfactory for 96kHz operation.

! see page 22

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F) RCA Digital Interface

Use these connectors to hook up the Eclipse to CD players, DAT recorders, and other audio gear using RCA connectors. The connectors are two-conductor RCA jacks. Your plug should have the shield connected to the sleeve with the single shielded conductor connected at the tip. To select the RCA input as the digital source, go to

SETUP DIG-IN (CLOCK) to DigIn a s well. The RCA output is always active, but the format

of the data being sent out it can either be Pro or Cns (consumer) as determined by SETUP

DIG-OUT FORMAT (CS-TYPE)

RCA output as your main (or only) digital output. S/P DIF is a consumer digital audio standard, with two

audio channels encoded into a single connector. We recommend the use of professional quality cables made of RG-59/U coaxial cable. Ordinary "hi-fi" type leads may prove inadequate, especially at the higher samp le ra tes.

G) Optical Digital Interface

Use these connectors to hook up the Eclipse to CD players, ADATs, and other audio gear using optical connectors. Use a “Toslink” compatible optical cable

to make it yourself, we recommend buying

that fits will probably work… To select two-channel AES-S/PDIF protocol optical input, select

Optical under SETUP DIG-IN (DIG-IN). To select eight-channel Adat protocol input,

select ADAT under SETUP DIG-IN (DIG-IN), and select the input channels under SETUP

DIG-IN {ADAT-IN} (repeatedly press the soft key to “ungang” the inp ut channels). If necessary, set SETUP DIG-IN ( CLOCK) to Dig in as well. The optical output is always active, but the format of the

data being sent out it can be S/PDIF (two-channel), or ADAT (eight-channel) as determined by SETUP

DIG-OUT (OPTICAL) (consumer) as determined by SETUP DI G-OUT F ORMAT (CS-TYPE). ! see page 22

Eclipse User Manual

SETUP DIG-IN (DIG-IN). Set

. You will probably want this set to Cns if you’re using the

! see page 22

(while it might make you feel good

professionally made optical cables!). Actually, any functional optical cable

. What’s more, two-channel optical output can either be Pro or Cns

H) Word Clock I/O

Use these BNC connectors with any audio gear that supports word clock. Word clock is a more reliable time reference than that supplied by the digital audio itself. If synchronizing to another device’s clock via word clock, use

SETUP DIG-IN (CLOCK) set to WC In. The word

clock output is always sending the sampling rate selected at SETUP DIG-IN (CLOCK). ! see

page 23

I) Serial Port Connect a "9 pin" serial cable (IBM PC type RS232) to this port to transfer information to

and from a personal computer (do not use the "null modem" type of cable designed for file transfer between two computers - it will not work).

the front panel illumina tes whenev e r a message is r eceiv ed a t th e serial po r t. Note: If t he s erial p ort i s “enab l ed” a nd MIDI is “enabled,” a command received ov er either the serial port or the MIDI In p ort causes th e port not receiv ing the command to be ignored until the command is complete.

! see page 46

With the Memory Card removed, the BUSY LED on

J) MIDI MIDI is used for instrument-to-instrument digital communications. The Eclipse sends and

receives Eventide system exclusive messages, and in addition, may respond to as well as generate standard MIDI. The Eclipse has three MIDI ports:

In The Eclipse accepts (and processes) MIDI messages received at the

MIDI In port. The connector is “7 pin” and can provide power to a suitable pedal board, provided you supply power at the “Remote Power In” socket described below. It can also send MIDI messages from this connector to a suitably equipped system. This means, for example, that a pedal board can be connected to the Eclipse by means of a single cable that supplies power as well as a communication path. A normal "5 pin" MIDI cable can be used as a standard MIDI input.

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Out The Eclipse sends MIDI messa ges to other device s via the Out port.

Thru Any MIDI information received at the MIDI In port is echoed di-

K) Remote Power In

Power supplied at this jack is sent “down” the MIDI In port’s pins 6 and 7. Use a suitable MIDI pedal board and connect its “wall wart” (external power supply) to this jack. Use a "7 pin" MIDI cable between the Out port on the board and the In port on the Eclipse. Power will be remotely supplied to the MIDI pedal board.

L) Foot Pedal Jacks 1 & 2

Stereo 1/4-inch connectors. The sleeve is ground reference, the ring is a +5 volt (source), and the tip is an analog signal from 0 to 5 volts. Connect either foot switches, foot pedals, or control voltage sources to these inputs to modulate parameters or to t rigger events (including remote program loads, see page 43).

Eclipse User Manual

MIDI messages are also sent o ut the serial port if they are “enabl ed.”

rectly to the MIDI Thru port regardless of the Eclipse’s configura-

(as long as the Eclipse is powered up).

tion

With the Memory Card removed, the BUSY LED on the front panel illuminates whenever a MIDI message is received at the MIDI In port. Note: If the serial port is “ena b led” and MIDI is “enabled,” a command received over either the serial port or the MIDI In port causes the port not receiving the command to be ignored until the command is complete.

! To set up the foot pedal jacks, see page 44

! for MIDI Setup see page

Getting Around and Altering Parameters

At any given time, the Eclipse is doing a whole bunch of “stuff.” Unfortunately, you can’t look at all that “stuff” at in one fell swoop.

display where you really only need one!

We could have arranged things otherwise, but we figured you’d rather not devote twelve rack spaces to the Eclipse

As a compromise, we’ve created a number of “windows” on its inner-workings. We call them “areas.” Inside each area are parameters that can be selected by using the “soft keys” below the display. Once a parameter is selected, you can alter its value with the knob or the keypad. Let’s look at this in a little more depth, shall we?

The “Areas” (e.g. – Levels, Program, Setup, etc.)

Each area has a dedicated key and an LED that illuminates when you’re “in” that area. For example, pressing the the

LEVELS key illuminates its LED and changes the display to show the LEVELS area parameters. Press

LEVELS key again to see even more parameters! Here’s a list of areas and the sorts of things you can

view in each:

LEVELS Input and output levels at different points along the signal

path along with master wet/dry controls and coarse signal flow controls.

PROGRAM Utilities for sorting, loading, and saving programs.

! see page 26

! see page 18

HOT KEYS

A real help for speedy sessions! Al l of the most important parameters for factory programs are found here, and you can assign parameters from any other area here for quick a ccess.

! see page 30

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PARAMETER Parameter adjustments for the effects running on each of

the Eclipse’s effect blocks, effect block bypassing, program loading, routing, and modulation block ( trols.

! see page 30

<EDIT MOD>) con-

SETUP Catchall for system level functions such as display bright-

ness, digital rates and sources, MIDI setup, and lots of other cool stuff.

Understanding the Display and Soft Keys

The Bottom Line of the Display

The display shows two lines of text. The top line is typically dependent on the bottom line, so let’s talk about the bottom line first. As you can see from the screen to the right, there are (typically) four bracketed phrases along the bottom. ing the soft key below a bracketed phrase highlights that phrase and allows you to adjust the parameter associated with that phrase. From now on, we’ll just treat those phrases as if they were actually the soft key like so: “press

{IN GAIN}.”

Press the LEVELS key on your Eclipse u ntil you see the same sc reen. Press-

Pressing

{IN GAIN} results in the screen to the right (try it!).

Notice that the top line contains the parameter associated with {IN GAIN}. Turning the knob or using the keypad (with the

ENT key) alters that pa-

rameter (try it!). …but we’re getting ahead of ourselves. There are four kinds of brackets around soft keys, and each denotes something different.

{curly braces}

are for “ganged” parameters. Pressing the soft key more than once cycles through the gang. First the parameters are linked, then just one is adjustable, then just the other is adjustable, then both are linked again, and so on. Try this on

LEVELS {IN GAIN} i.e., the

{IN GAIN}

soft key in the LEVELS area.

indicate that pressing the soft key will perform an action, such as triggering an LFO. Here, pressing PARAMETER

<FXA: ON> PARAMETER <FXA:OFF> “un-bypasses” it.

sub-menu

bypasses effects block A. Then pressing

indicates that more soft keys “hide” beneath this one. Pressing a sub-menu ch anges the screen entirely as differ-

ent soft keys are displayed. (A menu is a list of choices (as in a restaurant), so a sub-menu is a menu one level down.) You know you’re a level down because a little triangle appears in the lower right corner of the

screen. To come “back up,” press the area key for the area you’re in (in this example, we’d press

LEVELS). Try this on LEVELS METER.

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(parentheses)

are for straightforward parameters. Here we see LEVELS

(WET/DRY)

^_BACK This special soft key sends you “up a level.” Here we see

PARAMETER <EDIT MOD> after the PARAMETER key has

been pressed a few times. Pressing ^_BACK sends us “up” to the normal PARAMETER area screen.

Before we move on to the top line of the display, we should point out a little graphic you may notice on the bottom right corner of the screen. It’s a number next to a right pointing arrow. This graphic indicates that the area you’re in has more than one “page.” The number is the page you’re on. Pressing

LEVELS after being in some other area will result in the screen to

the right. As shown, we’re on page 1 and we know there are other pages because there’s an arrow.

To flip to the other pages, press the area key associated with those pages. Here we’ve pressed the relative to the page number. It indicates that pressing the will take us back to the first page.

LEVELS key again. Notice the position of the arrow

LEVELS key again

The Top Line of the Display

The top line of the display usually shows what area you’re in (e.g., LEVELS,

SETUP, PROGRAM, etc.) and the parameter value for the highlighted soft

key. The

PARAMETER area breaks from this convention a bit, with the first

page showing which algorithms are loaded into each effects block and whether each effects block is muted or not. You’ll find a few other such anomalies, but they shouldn’t be too hard to figure out. Enough said?

Altering Parameters

Once you highlight a (NORMAL) or {GANGED} soft key, the top line of the display will show a parameter (or parameters) that you can adjust. To adjust a parameter you can…

• Turn the knob!

• Key in a value with the keypad, pressing

pressing

+/- either before the keyed number or after the keyed number. If you key in a number that is

“out of range,” the highest or lowest value available will be shown. If you don’t press you typed won’t “stick”!

you key in a delay time of

NOTE: you can often obta in greate r precisio n than t he displa y will show by keying i n a value. F or exa mple, if

333.333

, the display will read

ENT when you’re finished. Negative values can be entered by

333

. But the actual value will be

333.333

ENT, the number

• Press the

INC/DEC keys (the little up and down arrow in the keypad).

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Quickstart

Pressing keys is fine, but if that’s all you wanted to do you’ d have been better off buying an infant’s “activity center” from a second-hand store. No, the whole point is to get some of th at Eventide goodness into your music, and that’s just what we’re gonna do now…

Hooking Up To the Outside World

The Eclipse will sum analog and digital inputs and will output both analog and digital signals at all times.

! see the separate “Eclipse System Signal Flow” sheet for all the gory details

Analog Connections

Insert either an unbalanced 1/4-inch cable (at –10dB) or a balanced XLR cable (at +4dB) into one or both analog inputs could come from a mixer or a preamplifier. You can plug a guitar directly into the Eclipse, but you’ll have to crank the gain (LEVELS {IN GAIN}). Even then, the signal may not be optimal.

Connect balanced 1/4-inch or XLR cables to the analog outputs (both will be operational). These could lead to a mixer or an amplifier. Using an unbalanced 1/4-inch cable at the output will halve (-6dB) the output level.

! see page 7

(see page 7). Such a signal

Digital Connections

OK, this is meant to be a Quickstart section, so we’re going to keep things as simple as possible. If something doesn’t make sense or if things aren’t working as you expect them to, go to page 22.

To input digital audio, first plug a cable into an appropriate port on the back panel. Next, select from

DIG-IN (DIG-IN)

. If you select ADAT, use the {ADAT-IN} soft key to select which two channels the Eclipse will use to process by repeatedly pressing the {ADAT-IN} soft key. Next, you will probably want to set SETUP DIG-

IN (CLOCK) to DigIn.

All of the digital outputs send live signals all of the tim e! However, they only send one protocol. Select that protocol under SETUP DIG-OUT FORMAT . Under (CS-TYPE) select Pro if you are primarily interested in using the XLR digital outputs and RCA or optical (non-Adat) digital outputs.

To output the ADAT protocol through the optical output, set

DIG-OUT (OPTICAL ) to ADAT. Then use the (ADAT-OUT) soft key to se-

lect which channels will receive processed audio (Ch 1 or Ch 2), which will receive the signal supplied at the Adat input (

muted.

XLR, RCA, Optical, or ADAT under SETUP

Cns if you are primarily interested in using the

SETUP

Thru), and which will be

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Choosing Effects

The Eclipse has a whole bunch of cool programs, and you can sort through them in a number of useful ways. Press to select either Number or Name for numerical or alphabetical listings. Press PROGRAM CRITERIA (SEARCH B) to select either Source (if you’d like to sort effects based on what type of input they were designed for) or

Effect (if you’d like to sort effects based on their underlying algorithms).

We’ll ignore the other choices for now. Press the back “up” a level.

PROGRAM CRITE RIA ( SORT BY)

PROGRAM key to jump

Now use the

< """" > and < !!!! > soft keys to hop between categories and the

knob to scroll through programs within categories. When you see a program you want to load, just hit the

<LOAD> soft key. ! for more detail, see page 26

Altering the Effects

As soon as you load a program, you’ll be taken to the HOT KEYS area and presented with all of the most important parameters in said program. Most parameter ty pes are self-explanatory, and there is a nice explanation of several of the more opaque parameter types on page 31. For now, we’ll explain the whole concept of the tempo

and synchronized parameters.

Tempo

The Eclipse’s tempo feature is your ticket to a good time… Almost all the time-based parameters (LFO rates, delay times, etc.) in the Eclipse are synchronized to its tempo tempo

to the tempo of the material you’re working with makes for very useful effecting. The tempo can be

. Consequently, setting the Eclipse’s

set five ways: Tap the tap key

SETUP TEMPO (TAP SRC) set to the factory default,

With

Internal, simply tap the TAP key at the tempo you’d like.

You can adjust

SETUP TEMPO (AVERAGE) to determine

how many taps the Eclipse will consider in determining the tempo you tap.

Manual Entry With

SETUP TEMPO (TAP SRC) set to the factory default,

Internal, simply enter the tempo you’d like at SETUP TEMPO (TEMPO). Like most parameters in the Eclipse,

you can enter a number with greater precision than the Eclipse will display. For instance, if you enter a tempo

124.4 bpm (beats per minute), the display will only read

124, but the actual tempo will be 124.4.

Foot Switch Control

Set SETUP TEMPO (TAP SRC) to Foot Sw1 or Foot Sw2 to control the tempo from the rear panel footswitch jacks. While not very accurate, this can still be useful because so many of the Eclipse’s parameters are controlled by the

tempo

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MIDI Clock Set SETUP TEMPO (TAP SRC) to Midiclock to co ntrol the

tempo from a MIDI sequencer connected to the Eclipse’s MIDI input.

MIDI Control Numbers

Set

SETUP TEMPO (TAP SRC) to CC xxx (where xxx is

some number between 1 and 127) to control the tempo from MIDI control information on the channel selected at

SETUP page 2 MIDI (CHANNEL) (

This is useful for the same reasons Foot Switch Control is useful.

Omni

responds to all channels).

When you save or update a program, the current tempo it. This saved tempo

will replace the current tempo the next time the program

is saved along with

is loaded. You can disable the tempo by setting

! Additional explanations and diagrams can be found on page 15. We highly recommen d check ing th em out !

SETUP TEMPO (TAP SRC) to Off.

Tempo-Controlled Parameters: T_DELAY, T_RATE, etc.

You’ll notice many parameters with “ names. These parameters synchronize to the tempo right we see

(T_RATE). Its values are rhythmic, and right now the chorus

depicted will oscillate once every If you want the chorus to ignore the tempo

the unadorned

(RATE) soft key to enter in a rate.

T_” stuck onto the beginning of their

. For example, to the

1/2 note.

, set (T_RATE) to off and use

If you want every parameter in the Eclipse to ignore the tempo, set SETUP

TEMPO (TAP SRC) to Off.

! See page 32 for a more in-depth discussion of “T_” parameters. See page 15 for a diagram of the tempo and its relation to “T_” parameters.

Tutorial 1: Loading a Program, Setting the Tempo, and Assigning Modulation

OK, we’re going to run you through “a day in the life of your Eclipse”! First, turn it on.

We want to load a program, and that’s the sort of thing that happens in the “PROGRAM area.” So, press the PROGRAM key!

The Eclipse sorts its programs so that the type of program you want to load is easily found. Press

CRITERIA (SORT BY) and turn the knob until

the display reads Number. Then press (SEARCH B) and turn the knob until the display reads

instrument the program was designed for)

a level. Press the < "

Programs-Guitar. Now you can access programs that were designed to

! see page 26 for more information

" > and < !!!! > keys until the left side of the screen reads

process guitars. Use the knob to select the program Load the program by pressing the conspicuously labeled

You’re whisked away to the

Source (t his will allow us t o search for a program b ased on the type of

. Press the PROGRAM key again to jump “up”

FuzzADSRPreamp.

<LOAD> soft key.

HOT KEYS area…

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Too much distortion? Select the (FUZZ) soft key and use the knob to

out.

select Press the

Select

HOT KEYS key again to access more soft keys. Need more funk?

(SENS) and use the knob to tune in the “good stuff”!

OK, let’s load a different program that has an LFO so we can check out the Eclipse’s tempo

< """" > soft key until the left side of the display reads Programs-All.

Use the knob to select To insure that your tempo

feature. Go back to the PROGRAM area and press the

Dual Modfilter and then <LOAD> it.

is behaving in a way that makes what follows comprehensible, set SETUP TEMPO (TAP SRC) to Internal. You can experiment with other settings (such as the all-important Midiclock) on your own time! As an important aside, selecting

Off would disable the tempo

feature. Return to the

HOT KEYS area, play some music and tap the TAP key in

time. You’ll notice that the tempo is displayed (with less precision than it truly possesses) and that the program’s modulating filters get all cozy and synchronized with the music.

Select

whole note or 1/8 note. Not bad…

Notice that if you alter fected. It works like this: you select the source of the tempo above. The tempo parameters in the program that is loaded. They “filter” the tempo

HOT KEYS (T_RATE) and play around with different values, such as

(T_RATE), the associated parameter (RATE) is af-

as described

then “informs” all the T_DELAY, T_RATE, and T_xxxxx

informa-

tion based on the rhythmic value you choose and “inform” the actual

(DELAY) or (RATE) parameters in the prog ram in their “native language”

(i.e., milliseconds or Hertz). The “unadorned”

tempo and their associated back to the “unadorned” parameters, either turn off the tempo described above, or turn off a given

(DELAY) and (RATE) pa rameters are thus slaves to the

(T_xxxxx) parameters. To relinquish control

system as

(T_xxxxx) parameter to off (just keep

spinning the knob to the right; you’ll get there!). Doing either effectively breaks one of the arrows shown to the right.

! see pages 13 and 32 for more information

Finally, let’s assign the modulation block’s LFO to a parameter. Press

PARAMETER page 2 <EDIT MOD> LFO#1, and set (T_RATE) to whole note. Now the modulation block’s LFO is cycling once a measure. Use the ^-BACK soft key to “jump up” a level. ! see page 39 for information on the modulation

block LFO and all of the other wonderful modul at o rs !

All of the modulators in the modulation block exist independently of pro-

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grams. To prove it, load the program CombDelays. Should you peek back at the LFO’s

(T_RATE), you’ll find it hasn’t changed.

Now go to the

HOT KEYS area and set (M_COMB) to 0 %.

To assign the modulation block’s LFO to this parameter, hold down its soft key until the page shown to the right appears.

<MODULATE> and then set (SOURCE) to LFO#1. Trippy!

Select You can change the depth of the effect with To disconnect modulation, simply set

more information about patching parameters to the modul atio n bl ock

(SCALE).

(SOURCE) back to off. ! see page 37 for

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Tutorial 2: Creating a Program “from Scratch” and Assigning a Hot Key

A bit of background: all of the Eclipse’s programs are built on a hundred or so “algorithms.” A single program can contain one or two algorithms connected in series, parallel, or variations thereof. All of these raw algorithms are stored in factory programs 100 through 499 and are diagramed in the separately provided “Eclipse Algorithm” document. The process of creating a program “from scratch” involves “stealing” an algorithm and its associated parameter settings from an existing program. ! see page 36 for more details.

Assuming you’ve read the first part of “Tutorial 1” and know how to sort and load programs, load Mute_Xfade. Unless you bypass your Ec li pse , the

Mute_Xfade is silent. Some may consider this boring.

Let’s make a phaser that pans, shall we? First, we need to “steal” the phaser algorithm from an existing program. Press

(PROGRAM) to select the program that we will “steal” from.

PARAMETER page 3

Select

St Phaser. (This preset is not deeply religious – its apparent saint-

hood is an abbreviation for stereo …) If St Phaser used more than one algorithm, we could use the (BLOCK)

soft key to select which algorithm we’d like to “steal.” But it doesn’t… So, we can’t…

Load the selected algorithm into effects block A by pressing the

FXA>

soft key. You’re taken back to the first page under the PARAMETER

key where you can see that the

stereo phaser algorithm is now running

<LOAD

on effects block A. Cool. Now we need a panner to run after the phaser. Select serial under

PARAMETER page 2 (ROUTING). We’ll load the panner into effects block

B (

FXB). ! see page 34

Return to PARAMETER page 3 (PROGRAM) and select FM Panner. This time press

<LOAD FXB> to load the panning algorithm onto effects block

B. Violla! A phaser that pans! Now, let’s say you want access to the panning rate from the

HOT KEYS

area. First find the parameter at PARAMETER <EDIT FXB> LFO (T_RATE). Hold down its soft key until the screen to the right pops up. Select the hot key “slot” you’d like it to appear at with

<ASSIGN>.

press

(HOT KEY), then

Bam! Go to the

for more information

HOT KEYS area to check out your handiwork! ! see page 30

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Operation

…don’t touch the sides! You remember “Operation”: the childhood game where you pull plastic bones and other parts out of a little cardboard

man? No? Oh well…

Mounting and Handling

Normally, you should have the Eclipse rack mounted in a standard 19-inch rack. If you take it on the road, support it from the rear as well. Keep the Eclipse well ventilated, dust-free, dry, and, like Little Bear’s porridge, neither too hot nor too cold. Don’t play catch with the Eclipse or use it as a bat. Pat the Eclipse gently and whisper sweet nothings of affection in its direction before powering it down for the night…

Memory Cards

The Eclipse accepts “Compact Flash” cards of all sizes. All functions that work with internal memory also work with memory cards. In addition to increasing the number of programs you can store, memory cards allow you to take your programs to a friend’s Eclipse or to trade your programs for candies.

To insert a memory card, well, just insert it until it stops. To remove a memory card, just pull it out (but be sure that the yellow BUSY light isn’t illuminated when you do so!). It’s possible to load a program from a memory card and then remove the memory card – the program will still run. The card only needs to be in place for such functions as loading, saving, updating, removing, and so forth.

! see page 48 for formatting information

While more resilient than removable media of yesteryear, you should still treat your Compact Flash cards with respect, lest bad things happen. Don’t spill on them, don’t shock them, don’t leave them on the dash under hot sun, and on and on. Compact Flash cards do not need batteries.

The Display Brightness and Click Features

Press SETUP page 2 DISP to adjust the brightness. (BRIGHT) adjusts the brightness of the display in sixteen increments, while (AUTODIM) reduces the brightness after a set period of inactivity to prolong the display’s life.

(AUTODIM) can kick in after 5 to 120 minutes of inactivity, or it can be

turned off. After the screen autodims, it can be brought back to full brightness by pressing a button or turning the knob.

display!

Press

SETUP page 2 DISP CLI CK to adjust the click features. The knob will

It’s like sleep mode for your computer’s

click when turned if you adjust (KNOB) to On, buttons will click when pushed if you adjust

(TEMPO) to On.

(KEYS) to On, and the tempo will click if you adjust

Click, click, click. Such fun…

Global Signal Flow and Levels

This section discusses lev els and routing of all signals before the digital signal processor (DSP) and after the DSP, i.e., everything shown on the “Eclipse System Signal Flow” sheet located in the pocket of this manual. These adjustments are global in that they do not change when you load a new program. As such, they are useful for adjusting the levels and signal flow of your Eclipse relative to the rest of your studio or rack. They are not that useful for adjusting the nuance of an effect – that is better left to PARAMETER area levels and routing

(page 34).

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Now we’re going to describe in words the signal flow inside the Eclipse. But they say a picture is worth a thousand words, so it will be helpful if you pluck the “Eclipse System Signal Flow” sheet from the end of this manual, after the index, and follow along.

The digital input is taken from the XLR, RCA, or optical digital input as determined by SETUP DIG-IN (DIG-IN). The first thing to realize is that the digital input and the analog inputs are summed. Thus, if you run a vocal in through the digital inputs and drum overheads in through the analog inputs, both will be effected. Digital channel 1 is summed with analog channel 1 and digital channel 2 is summed with analog channel 2.

You have the ability to select how these two channels are patched into the two inputs of the DSP, as we’ll discuss shortly. Once inside the DSP, signal flow and levels are controlled in the scribed on page 34. The output of the DSP is mixed with the input to the DSP for a “wet/dry mix” and then sent to every single output with the exception of the ADAT pairs

(page Error! Bookmark not defined.

Error! Bookmark not defined.).

Error! Bookmark not defined.Error! Bookmark not defined.

Using the Meters

The meters are your window on the signal level at various points throughout the signal path. Press LEVELS METER to adjust the point that they monitor, their decay rate, or their peak hold time.

PARAMETER area as de-

Your choices for

Master In The level at the input of the DSP after the digital and analog signals have been combined. Analog In The analog input level after both LEVELS {IN-GAIN} and LEVELS page 2 {ANLG-IN}. Digital In The digital input level after LEVELS page 2 {DIG-IN}. FX-A In The level at the input of effects block A. FX-A Out The level at the output of effects block A after PARAMETER page 2 MIXER {FXA MIX}. FX-B In The level at the input of effects block B. FX-B Out Master Out The level at the output of the DSP after LEVELS page 2

You can change the decay time of the meters from

LEVELS METER (DECAY).

LEVELS METER (SOURCE) are:

The level at the output of effects block B after PARAMETER page 2 MIXER {FXB MIX}.

{MSTR-OUT}.

0.1 to 10 seconds at

You can also change the hold time for the peak level from 0.1 to 20 seconds at

LEVELS METER (HOLD).

If the signal being monitored hits “digital zero,” the OVERLOAD LED will illuminate to inform you that distortion may have occurred. To clear the

OVERLOAD LED, press LEVELS METER <OL CLEAR>.

Input Mode (Global Stereo or Global Mono?)

As mentioned above, you select how the two channels of summed digital and analog input are fed to the input of the DSP. Press

MODE)

to select from three possibilities.

LEVELS page 2 (IN

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Stereo Here each input channel is sent to the correspond-

ing input on the DSP. Use this mode when sending stereo signals for processing.

Mono 1

Here only input 1 is sent to both channels of the

DSP. Input 2 is ignored. Use this mode if you have no signal on input 2 (as may be the case with a guitar rig, for example).

Mono 2 Here only input 2 is sent to both channels of the

DSP. Input 1 is ignored. Use this mode if you have no signal on input 1.

Global Wet/Dry Mix

You can control the global wet/dry mix at LEVELS (WET/DRY). While you can adjust the wet/dry ratio of each effects block and save it with a program

(page 35), that’s not the same thing as the global wet/dry mix that we’re discussing here. The global

wet/dry mix affects how much of the signal that goes into the DSP (dry) is mixed with the signal that comes out of the DSP (wet). Recall that the DSP contains both effects blocks and the routing between them. The global wet/dry mix that we are discussing here does not change when you load a new program.

You will hear no effects with set to

100%. Settings in-between will mix the two.

Why is there a global wet/dry along with

(WET/DRY) set to 0%. You won’t hear the original signal with (WET/DRY)

PARAMETER area wet/dry controls? Isn’t this redundant? Well, no.

Treat PARAMETER page 2 LEVELS {FX_ MIX} as a tool for getting an effect to sound its best, and remember that this wet/dry will change when you load a new program. Use the LEVELS (WET/DRY) that we are discussing here to harmonize your Eclipse with the rest of your studio or rack. If you use the Eclipse in an effects loop, you probably want LEVELS (WET/DRY) set to 100%, but if you always run a guitar through it, you may want this parameter set to some lower value.

Global Levels

You have plenty of chances to optimize the signal level at a myriad of points along the Eclipse’s signal path. Generally, you want to leave anything that counts as an “input” at 0dB and adjust anything that counts as an “output” to maximize signal level without clipping (this includes the output of any device connected to the Eclipse). Only adjust input levels if their connected outputs cannot adequately optimize the signal level. Signals that are too low make for low resolution audio. Signals that are too high make for nasty, nasty distortion.

We highly, highly, highly recommend that you refer to the “Eclipse System Signal Flow” sheet (after the index) to visualize where the following adjustments are made. All references to the “meter” can be set at

METER (SOURCE) LEVELS {IN-GAIN}

LEVELS

This is an analog voltage gain of –30dB to +10dB. It comes before the ADC

(analog to digital converter) and affects sig-

nals supplied at the analog inputs only! Its effect can be monitored by setting the meter to Analog In. It is advisable to leave this at 0dB and to optimize the input level by adjust-

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ing the device connected to the analog inputs of the Eclipse. However, definitely use should the connected device be constrained in some way.

LEVELS {OUT GAIN}

This is an analog voltage gain of –30dB to +10dB. It comes after the DAC ing sent out the analog output only! Note that setting the meter to Analog Out shows the level before this control, not after.

LEVELS page 2 {ANLG LVL}

Ah, we’ve included this digital gain of –100dB to 0dB simply because we could. It comes after the ADC and hence is in the digital domain. It affects only the level of the analog input. But - you probably don’t want to use it! That’s right: leave it at 0dB unless you feel you have a good reason to do otherwise, such as disabling the analog inputs (use -100dB). To adjust the analog input level, you should instead use the above-mentioned LEVELS {IN-GAIN}.

LEVELS page 2 {DIG LVL}

This is a digital gain of –100dB to 0dB. It affects signals supplied at the digital input only, and its effects can be monitored by setting the meter to Digital In. It is advisable to leave this set to 0dB and to optimize the input level by adjusting the device connected to the digital input of the Eclipse. Only use you.

Eclipse User Manual

LEVELS {IN-GAIN}

(digital to analog converter) and affects the signals be-

LEVELS page 2 {DIG IN} should that fail

LEVELS page 2 {MSTR OUT}

This is a digital gain of –100dB to 0dB. It affects the signal at the output of the DSP, after the Wet/Dry mix and before the DAC, and can be monitored by setting the meter to

DSP-Out. Adjusting this parameter will affect the signal

level at both the digital and analog outputs. If you have digital outputs, use this to optimize the signal being sent out them.

For the “audio purists”: Assuming that you’re not clipping the DAC

the

OVERLOAD LED light with the meter set to

the analog output down, and use output up. Why? You want the highest signal possible going through the DAC for maximum resolution with minimum noise.

! see page 6 for more about the Overload LED

(you’d know you were if you saw

DSP-Out

LEVELS page 2 {MSTR OUT} if you need to turn the analog

), use LEVELS {OUT GAI N} if you need to turn

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Bypassing and Muting

The purpose of the BYPASS key is, as the name suggests, to remove any effects, while passing the signal through unchanged. Eclipse, of course, offers a number of options here, which can be selected under

SETUP MODES (BYPASS).

! see page 42 to learn how to remotely control the

Relay Byp

bypass

function.

When this is selected, the analog XLR inputs and outputs are connected by a relay (you can hear it click when you operate the switch). The digital inputs and outputs are connected electronically, as in DSP bypass, below. The ¼” jacks will be muted, so you should not use relay bypass if you are using these jacks. Note that when Eclipse is powered down, the same relay connects the analog XLRs, so that signal can pass through.

DSP Byp (DSP bypass - the normal mode)

When this is selected, both effects blocks are electronically bypassed, preserving all global levels. This means, for example, that if you were coming in digital, and going out analog, you would still have signal when bypassed, in contrast to relay bypass above.

Mute All

An alternative to normal bypass – this mutes the signal passing through the Eclipse, and would mainly be used in cases of extreme panic.

Digital Setup

The Eclipse is ready to interface with virtually any piece of digital equipment on the market. Any rate, any bit depth, any connector. What’s more, it can accept one protocol at its input and pass a different protocol at its output. What do we mean by protocol? A protocol is a way of encoding digital audio. The XLR, RCA, and optical connectors can all accept or pass either the professional or the consumer protocol. However, the XLR connector is normally used for the more robust professional standard, while the RCA and optical connectors are, in general, only used for the less robust consumer standard. Within both standards, you can select to encode “emphasis,” though you should le ave “emphasis” off unless you know what it is and feel the need to use it. Within the consumer standard, you can encode data that permits subsequent users to either copy freely, to copy once more, or not to copy the material.

Digital Input

The Eclipse can only accept a digital signal from one digital input. Select

XLR input, the RCA input, or Optical input (for stereo optical informa-

the tion), or ADAT (for eight-channel information) at SETUP DI G-IN (DIG-IN). If you’re not using the digital input, select Off. The Eclipse rea ds the di gital input format and makes any adjustments that it needs to automatically, with

the exception of slaving to the digital input’s clock. Unless the device connected to the Eclipse is slaved to the Eclipse, you will want to switch

SETUP DIG-IN (CLOCK) to DigIn.

If the digital input that you select is absent or corrupt, the EXT LED will blink hypnotically. To find out the status of the input signal for troubleshooting or general

curiosity, press and hold

the SETUP DIG-IN (DIG-IN) soft key.

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Press (STATUS) to verify that the signal is being read (OK or Data

) and, if it is, in what format (Pro or Cns).

Err

Press

(BITS) to check the input word length.

(EMPHASIS) to check the input emphasis status. Emphasis is

Press

largely a relic of early digital audio technology. The Eclipse can read and write emphasis “flags”, but it does not code or decode emphasis regardless of the status of said flags.

Press (SCMS) to check the copy status of the incoming audio. The possibilities are applicable). Regardless of what the input audio SCMS flag is set to, the Eclipse can use the audio.

Use the above information wisely…

The Eclipse’s sampling rate can be derived from an internal clock source, the clock source of the digital input selected at SETUP DIG-IN (DIG-IN), or the word clock input. Use

SETUP DIG-IN (CLOCK) to select from:

Copy-Prohibit, 1-more, Copy OK, or N/A (not

Internal and External Clock Source

Int Use Int (for “internal”) to select from 44.1kHz, 48 kHz,

88.2kHz, or 96 kHz sampling rates. The “rate & source”

indicator pictured above will reflect your choice. Realize that the

EXT LED will not be lit, indicating that the clock

source is internal. Use the internal clock if you aren’t using a digital input or if the unit connected to the digital input is slaved to the Eclipse’s clock.

DigIn Use DigIn to use the digital input as a clock source. Recall that

the digital input is selected at

SETUP

DIG-IN (DIG-IN)

. The Eclipse will

read the incoming rate (~30kHz-50kHz or ~54kHz-99kHz) of the input and will display it next to

DigIn. In addition, the “rate

& source” indicator pictured above will reflect the fact that you have chosen an external clock source (

EXT will light). It

will also light the LED that most closely matches the detected rate

(signals that are way off will cause the nearest LED to blink).

Note: If there is no signal at the digital input or if the signal is absent or corrupt, the LED and rate LED will blink and the Eclipse will switch to the internal rate closest to the last valid external rate.

EXT

WClk Use WClk to use the word clock input as the clock source.

If the device you are slaving to has a word clock output, you are advised to use it in preference to DigIn described above! Word clock is a little more reliable. The Eclipse will read the rate and will display it next to

(~30kHz-50kHz and ~54kHz-99kHz) of the input

WC In. In addition, the “rate &

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source” indicator pictured above will reflect the fact that you have chosen an external clock source ( will also light the LED that most closely matches the detected rate

(signals that are way off will cause the nearest LED to blink).

EXT will light). It

Note: If there is no signal at the digital input or if the signal is absent or corrupt, the

EXT

LED and rate LED will blink and the Eclipse will switch to the internal rate closest to the last valid external rate.

SR-CNV Eclipse features a sample rate converter (SRC) on its digi-

tal input, which allows it to accept a digital signal whose sample frequency differs from its main clock source. This is mainly used to accept a signal at say 44.1kHz (from a CD player, for example) while operating at 48 or 96kHz. However, it can be used for 48kHz to 96khz conversion, or any other mixed-rate application.

Note that the SRC tends to require a higher quality input signal for correct operation. For this reason, the SRC should be disabled (set to off) when not needed.

Using Higher Sampling Rates Disables Some Programs

Higher sampling rates (greater than 55kHz) may yield higher fidelity, but some programs won’t function at higher rates

You can tell if a preset can run at higher sampling rates by looking for the

6 icon between the preset’s number and name. In some cases there are

two versions of the same program, one for high rate operation, and one for low rate operation, for example,

Loop10 and Loop20.

If a program without the Eclipse will refuse (i.e., not lock to) an incoming digital signal above 50kHz sampling.

Similarly, if a sample rate above 50kHz is selected, and you try to load a program without the will complain vociferously and will not let you continue.

(higher rates require twice the processing power and twice the delay capability!).

6 icon is currently loaded, it will not be possible to select a high sample rate, and

6 icon, Eclipse

Things would be simpler if we only used 96kHz capable presets, but then you would be paying for a lot of processing power, half of which would be wasted at 48kHz.

Digital Output

The XLR, RCA, and optical digital outputs will all output digital audio all the time, and will all output the same protocol

(with the exception of the optical output set to AD AT)! Therefore, you must choose the protocol for your

most “important” output or base your choice on the requirement of the device you’re connecting to. The sampling rate of the output audio is set at

SETUP DIG-IN (CLOCK) as described above.

By pressing SETUP DIG-OUT F ORMAT (CS-TYPE), you can select either the Pro or the Cns (consumer) protocol for output. Normally, you will set this to RCA or optical outputs are your most important sends

and is addressed below)

By changing

Pro if the XLR output is your most important send or Cns if the

(ADAT output is different

SETUP DIG-OUT FORMAT (EMPHASIS) from off to on, you can add emphasis flags to your

output audio. If you’ve never heard of “emphasis,” leave it off and skip the rest of this paragraph! Emphasis is

an outmoded “feature” of older A/D and D/A technology that filters the digital audio to make the best use of available headroom. However, few devices use emphasis these days, so you p roba bly want t o leave it off unl ess you h ave good rea son to do othe rwise. Cha nging the empha sis flag does NOT HING

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to the actual audio, it just t urns the flag on a nd off ( so, in this se nse, yo ur Eclip se can misi nform). S etting th e emphasis to put flag so that it matches the input flag.

Assuming that you’ve set (CS-TYPE) to Cns, you can select copy status at

SETUP DIG-OUT FOR MAT (SCMS). Your choices are: copy OK This will allow subsequent digital devices to make unlimited copies of the output audio. You

should leave it set to

1 more This will allow only one subsequent digital device to use the output audio. After that, no

copy OK unless you feel justified in doing otherwise…

more digital copies are permitted. We’ll let you decide when this would be useful.

no copy This will allow no subsequent digital devices to use the output audio. …a good way to pro-

tect your wares from flea-bitten pirate varmints!

thru

simply mirrors the out-

Select

SETUP DIG-OUT FORMAT (BITS) to choose the output word

length: 24, 20, or 16 bits.

ADAT Output or Two-Channel Optical Output?

The optical output can be made to send eight-channel digital audio in the ADAT protocol ( sen above (S/PDIF). Select between the two at SETUP DIG-OUT

(OPTICAL). (You would not normally select ADAT for sampling rates above

50kHz). If you select

press ADAT-OUT to select each channel and turn the knob to change the status of its output. Your choices are:

Thru The selected ADAT channel will carry the same signal that the corresponding Adat input

Mute The selected ADAT channel will carry silence. Ch 1 The selected ADAT channel will carry the Eclipse’s channel 1 output. Ch 2 The selected ADAT channel will carry the Eclipse’s channel 2 output.

If you select Adat for the optical output, the other digital outputs send the format selected at SETUP DIG-OUT FORMAT (CS-TYPE) as described above.

ADAT) or two-channel digital audio in the protocol cho-

ADAT, proceed to SETUP DIG-OUT (ADAT-OUT). Repeatedly

carried.

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Program Operations - Load, Save, Remove, etc.

Some care is required when saving programs to avoid overwriting precious material, but surgical correctness is not necessary …

Sorting and Loading Programs

The Eclipse comes with a wealth of factory programs (program numbers 100 – 499). In addition, you can save up to one hundred programs in internal memory (numbers 0 – 99), and up to five hundred programs on a memory card (numbers 500 – 999). That’s a lot of programs! Fortunately, we’ve devised a clever way of organizing all of those programs so that you can find the program you need in just a moment’s time. It works like this: all of those programs that were created for guitar are “flagged” as such, all those that were created for vocals are flagged as such, all those that were created for keyboard are flagged as such, and so on. Furthermore, all those programs that are delays are flagged as such, all those that are pitch shifters are flagged as such, all those that are reverbs are flagged as such, and so on. Before you load a program you can sort all of the programs based on their “source” ( (

Pitch, Reverb, Delay, etc.) in addition to their program number or alphabetical order. When you save or

update a program, you have the opportunity to flag the program as you see fit. Now on to the specifics…

PROGRAM CRITERIA to select how the programs are sorted.

Press

Guitar, Vocals, Drums, etc.) or their “effects type”

Use

PROGRAM CRITERIA (SEARCH B) to collect programs into groups.

Your choices are:

All Lumps all the programs into one big group. Source Collects the programs based on what instrument or input (a.k.a. source) they were created to

effect (e.g., Guitar, Vocals, Drums, etc.).

Effect Collects the programs based on their underlying effects type (e.g., EQ, Dynamics, Delay,

etc.).

Src&Effects Collects the programs by both their source and effects type. User Grp

Collects the programs as they were saved in the ten user groups. ! for information regarding User

Groups, see page 28

Use PROGRAM CRI TERIA (SORT BY) to sort programs either numerically (Number) or alphabetically (Name) within each collection.

Use

PROGRAM CRITERI A (LOCATION) to limit displayed programs to In-

ternal memory or Card memory. Alternatively, you can display All the

programs, regardless of their location. Now that you’ve selected your

keys to jump between “collections.” For example, if you set pressing < !

! > scrolls through such collections as Delay, Mod, Multi, Eq, and so on. Select programs

CRITERIA, go back to the first PROGRAM page. Use the < """" > and < !!!! > soft

PROGRAM CRITERIA (SEARCH B) to Effect,

within a collection by turning the knob, by pressing the increment/decrement keys, or by entering the program number you want followed by ENT. When you find the program you want, press <LOAD>.

During the brief period when one program is unloading and the other is loading, no effect will be heard

for crossfade, as is often t he c ase !)

. Normally, the Eclipse will simply mute the outputs

(unless both the outgoing a nd th e loading p rograms are routed

during this interval so that the input to the unit is heard at its output. HowEclipse User Manual Page 26 of 58 Release 1.10.1

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ever, you can instead bypass the effects processor during this interval by selecting Mute All at SETUP MODES page 2 (PGMCHG).

If both the outgoing and the loading programs are routed for crossfades (if each program only uses one of the two available effects blocks, and neither is too big), then the two programs will blend during loading by a time specified at

SETUP MODES page 2 (XFADE).

Loading Programs From MIDI and Using MIDI Maps

You can load programs from MIDI program change messages if SETUP page 2 MIDI MIDI MODE (PGM CHNG) is set to On.

Only MIDI program change messages sent on the channel selected at

SETUP page 2 MIDI (CHANNEL) will be obeyed. Omni selects all channels.

That’s all fine, but get this: MIDI program change messages range from 1 to 128. The Eclipse’s program numbers range from 0 to 999. Those numbers don’t jive.

Here’s how we’ve fixed the situation: maps. Press

SETUP page 3 MAPS to

activate or customize one of three MIDI maps. The maps have the following factory defaults that can be restored by pressing

Map 1 Program change numbers 1-100 select factory programs

<RESETMAP>.

100-199

Map 2 Program change numbers 1-100 select user programs 0-99 Map 3 Program change numbers 1-100 select card programs 500-

599

To customize a map, first select it with

SETUP page 3 MAPS (MAP #)

shown above. Use (PGMCHG#) to select a MIDI program change number (

PChg) to associate with the program selected by (PRESET #) (Prst) as

shown to the right. …happy loading…

Saving and Updating Programs

You can only save programs with numbers between 0 and 99 in internal memory and between 500 and 999 on a memory card. Numbers 100 through 199 are reserved for factory programs that make direct use of the Eclipse’s underlying algorithms, and numbers 200 through 499 are reserved for more complex factory programs.

Saving Programs

To save a program, press PROGRAM page 2 SAVE AS. Next, use PROGRAM page 2 SAVE (NUMBER) to select a number to store

the program at.. To name the program, press

entered a satisfactory name, press the PROGRAM key again to “jump back up a level.”

! see page 29 to learn how to name things

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PROGRAM page 2 SAVE NAME. Once you’ve

Eclipse User Manual

To set “flags” so that your program can be intelligently sorted as described above, press PROGRAM page 2 SAVE DBASE. There are three databases that you can flag your program in: (USERGRP) (see page 28), (SOURCE), or

(EFFECT). Select a database by pressing its soft key, then use the knob to

select a category within the database (e.g., use the from

<TOGGLE> soft key to “flag” a category, that is, to switch the flag

No to Yes. You can also use the <TOGGLE> soft key to “un-flag” a

category. Once all the correct flags are flagged, press the

(SOURCE) Special FX). Then

PROGRAM key to

“jump back up a level.” If you’re happy with the program number, the name, and the database flags,

press

<SAVE> to commit the program to memory. If the (NUMBER) you

selected above was empty, the Eclipse will save the program without hesitating. If, on the other hand, the (NUMBER) you chose was already occupied, the Eclipse will verify that you want to destroy the original occupant with an update or an overwrite. Select <YES> and the original occupant will disintegrate into digital dust.

Updating Programs

If you make changes to a program that you’ve already saved, you can store those changes without messing around with numbers, names, and flags

is like the “save” command on a computer, as opposed to the “save as” command)

PROGRAM page 2 <UPDATE>. A dialog box pops up that asks if you really

want to update the program. Press don’t.

<YES> if you do; press <NO> if you

(this

. Press

User Groups

There are ten “user groups” available for your own organizational purposes. When you save a program, you can flag it (PROGRAM page 2 SAVE DBASE

(USERGRP)) as being in one or more of these banks so that when you

choose User Grp under PROGRAM CRITERIA (SEARCH B), your saved programs are organized as you see fit.

You can name the User Groups under

(NUMBER) to rename, then use NAME to a ctually rename it. Pressing the

SETUP key saves the name. ! see page 29 to learn how to name things

Unfortunately, programs take up space. Eventually you’ll run out of space. Eventually you’ll find that you don’t use some of the programs that you used to use. Out with the old to make space for the new, right?

To remove a program, first load the program you want to remove. Return to the

PROGRAM area. Here we’ve loaded “Ringdelays.”

Next, press PROGRAM page 2 <REMOVE>. To avoid accidents, Eclipse will want to be sure that you are sure before re-

moving a possibly important program.

SETUP page 2 USERGRP. Choose a

Removing Programs

Hey! You can’t remove factory programs! We don’t even give you the option …

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Removing ALL Your Saved Programs

You can remove all your internal programs in one fell swoop by pressing

SETUP page 3 SERVICE page 2 <CLEAR> <YES>. This will not affect pro-

grams saved on the memory card.

Checking free space in internal memory or a card

So find out how much of the internal memory has been used (or is free), go to SETUP page 3 SERVICE (free mem).

Copying and Protecting Programs

To copy a program, simply load it and then use PROGRAM page 2 SAVE AS to save it in a new location. To protect all your programs from fumbling hands, turn SETUP MODES

(PROTECT) to On.

Naming Things – The Mechanics

It’s a lot easier to name something than it is to describe how to name something. Nevertheless, this manual is all about descriptions, so let’s dive in.

You will often find yourself naming programs when you save them. We’ll use this as an example. Press

PROGRAM page 2 SAVE AS NAME .

Use the knob to advance through a set of alphanumeric characters:

; : / ? > < , ; ` ~ | \ _ = + - } { ] [ ‘ ) ( * & ^ % $ # @ ! a b c d e f g h i j k l m n o p q r s t u v w x y z space

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 0 1 2 3 4 5 6 7 8 9 . - %

or use the keypad to type in numbers. Each key cycles through its number plus three letters and a symbol like this:

1= 1, A, B, C, : 2= 2, D, E, F, / 3= 3, G, H, I, ?

…and so on. Use the

< #### > soft key to move to the next position or the < """" > soft key

to move back. When you’re finished entering a new name, move “up a level” by pressing

the PROGRAM key. The new name will be saved only after you press

<SAVE>.

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Parameters

Factory programs ship with their most salient pa rameters “linked” to the HOT KEYS area. So, if you’re only doing some “light tweaking,” stick to the at all.

The

PARAMETER area gets you “inside” a program, so to speak. In it, you can change the underlying algo-

rithms loaded into the effects blocks, the routing between the effects blocks, or the parameters of the underlying algorithms themselves.

Programs 100 through 199 comprise the Eclipse’s set of “algorithms” (see

the separately provided “Eclipse Algorithms” document for details)

are “tweaks” and combinations of these elemental algorithms. Press the

PARAMETER key to see what algorithm or algorithms a given program is

“built” on. To the right, we see that the running on effects block A ( is running on effects block B ( rithm is running on

FXB, you would press <EDIT FXB> to access all of its

FXA) and that the dual modfilters algorithm

FXB). Because the dual modfilters algo-

parameters. However, as we’ve said before, the to a program’s most important parameters.

HOT KEYS area - you need not venture into the PARAMETER area

. Programs 200 through 499

fm modfilter/pan algorithm is

HOT KEYS area will “link”

All of the changes that you make in the gram in the

PROGRAM area. Well, almost all – see Bypassing Effects Blocks on page 36.

HOT KEYS or PARAMETER areas are saved and loaded with a pro-

Hot Keys

OK, the Eclipse has a cute little screen and sometimes you have to dig to get to the parameter you want to adjust. That can be a drag, especially if the parameter is one that you access often. The

HOT KEYS area was

created to improve this situation. Here’s the idea - pick a program parameter that you want to access quickly and assign it to the access that parameter

HOT KEYS area. Then next time instead of digging, you just go to the HOT KEYS area to

(you can still dig if you want to, how ever, the para meter will always exist in its origina l position). You can assign

any program parameter in the Eclipse to a hot key, and the factory presets ship with their most vital parameters linked to hot keys.

You can view you can select

HOT KEYS in the standard 1 Para meter per page mode or

4 Parameter mode under SETUP MODES (DISPMODE) as

shown to the right. Up to eight hot keys can be assigned for a given program, and the assign-

ments will be saved or updated with the currently loaded program. When you load a new program, the assignments saved with the new program will populate the HOT KEYS area; it doesn’t matter if the assignments are to program-specific parameters ( such as

PARAMETER page 2 (ROUTING)) or

to “global” parameters (such as SETUP DISPL AY (BRIGHT)).

Assigning Hot Keys

Let’s assign a hot key to {IN GAIN} in the LEVELS area. Get to the first page of the

Next, press and hold the

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LEVELS area by pressing the LEVELS key.

{IN GAIN} soft key.

Eclipse User Manual

Use (HOT KEY) to select to which hot key “slot” you’d like to assign {IN

GAIN}

Press

<ASSIGN> to actually assign it. If the hot keys “slot” you chose was

unoccupied, the Eclipse will assign the hot key without hesitation. However, if the slot you chose was occupied, the Eclipse will verify that you would like to replace the old hot key with the new one.

OK, while that was instructive, you probably won’t assign global parameters (such as

KEYS

area too often. Instead, you’ll usually assign program parameters.

Renaming Hot Keys

To rename an existing hot key, press and hold the hot key you want to rename in the allows you to change the name of the hot key. Hit the

HOT KEYS area. A <NAME> soft k ey appears that, if pressed,

HOT KEYS key to

finish.

! see page 29 to learn how to name things

Deleting Hot Keys

To delete a hot key assignment, either overwrite the assignment with a new hot key (as described above) or press and hold the hot key you want to delete in the HOT KEYS area. A <REMOVE> soft key appears that, if pressed, deletes the hot ke y i n questi on. The Eclipse makes sure you re al ly want to go through with it…

Altering Param eters in the PARAMET ER Area

While most factory programs link to their most important parameters in

HOT KEYS area, those same parameters and many more are left to

the tinker with in the

<EDIT FXB> depending on which effects block holds the parameters you

wish to tweak.

PARAMETER area. Press PARAMETER <EDIT FXA> or

{IN GAIN}) to the HOT

Hey! Many programs only make use of one of effects block A (FXA), in which case you can only edit

We’d like to take you through all of the myriad parameters you’ll encounter under

FXB>

, but there are too many and they are too varied. Instead, we’ll make a few general comments. For

PARAMETER <EDIT FXA>.

<EDIT FXA> or <EDIT

more “algorithm-specific” comments and algorithm flow charts, see the separately provided “Eclipse Algorithms” document.

Master Parameters: M_LEVEL, M_DELAY, M_FBACK, etc.

Many algorithms have multiple implementations of the same sort of parameter. For example, the algorithm each channel. While you can change each filter’s cutoff frequency and resonance independently, you’ll usually want to change them simultaneously.

Similarly, the algorithm

m_pandelays has four delays. You’ll often want

to alter their delay times relatively by scaling each delay time by some amount.

The inconvenient alternative is to go into each delay and change its delay time absolutely.

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dual filters has two filters, one for

Eclipse User Manual

In cases exemplified by dual filters, a MASTER menu page exists that will alter parameters for both filters simultaneously. Its parameters are “unadorned,” for example screen shot to the right. Parameters that only pertain to filter 1 have “ appended to their rears. For example, in the third screen shot to the right we see (GAIN1), (FREQ1), and (Q1).

(GAIN), (FREQ), and (Q) shown on the second

1”

In cases exemplified by

m_pandelays, a MASTER menu page exists that

will scale the “absolute” parameter values found under DELAY#1,

DELAY#2, etc. To the right, we see four menu pages, with the bottom

three found under the soft keys of the top screen shot (MASTERS,

DELAY#1, and DELAY#2). The absolute value of (DELAY1) is 200 ms,

and the absolute value of (DELAY2) is 400 ms. However, both of those values are scaled by (M_DELAY), which is set to you preserve the relative difference between the two delays (in this case, delay2 is always twice as long

50 %. Consequently, the actual delay times are 100ms and 200ms. By altering (M_DELAY),

as de-

lay1). You will see other cases of

MASTER menu pages that behave similarly to the ones we have described.

What’s more, HOT KEYS often link to these “master” controls.

Tempo-based Parameters : T_RAT E, T_ DELAY, T_TAP, etc.

The Eclipse’s little heart is always thumping to the beat of its “tempo.” The tempo can be keyed in, tapped in on the the Eclipse’s delays and LFOs automatically synchronize to the tempo. It works like this

example, but other “

A delay parameter will have two soft keys associated with it; one will say

(DELAY1) or something like that, while the other will have a “T_” appended

to its name:

TAP key, derived from a sequencer connected to the Eclipse’s MIDI in, and so on (see page 13). Most of

(we’ll use a delay as an

” parameters behave similarly):

(T_DELAY1). The “T_” stands for “tempo.”

(T_DELAY1) is selected in rhythmic terms: 1/8 note, 1/8 trip, 1/16 note

, whole note, etc. Assuming the tempo is synched to the music that

is being effected, the delay shown to the right will repeat after a 1/8th note. The (DELAY1) parameter does two things. First, if you press its soft key

but don’t turn the knob, it “reports” the actual delay time in milliseconds as a function of the tempo and the value of (T_DELAY1).

If, however, you turn the knob to change the delay time in milliseconds,

(DELAY1) will override the value derived from the tempo and (T_DELAY1).

But get this: if you now update the tempo ample) or alter the value of

(T_DELAY1), the delay time will once again be derived from

(T_DELAY1) in combination with the tempo.

Think of them as warring nations. On one side you have side you have the tempo

and (T_DELAY1) teamed up (in rhythmic terms). The actual delay is determined

(by tapping the TAP key for ex-

(DELAY1) (in terms of milliseconds). On the other

by which side “moved” last. If you al ter (DELAY1) and leave the tempo and (T_DELAY1) alone, then

(DELAY1) determines the actual delay time. If you alter the tempo or (T_DELAY1) and leave (DELAY1)

alone, then the tempo

and (T_DELAY1) determine the actual delay time.

However, if you set (T_DELAY1) to off, then the actual delay time will be

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determined solely by (DELAY1) in terms of milliseconds. If you want all of the parameters in the Eclipse to ignore the tempo, set SETUP TEMPO (TAP

SRC) to Off (just like old-fashioned effects processors).

Now that you have that straight, dig: the Eclipse can calculate delay times in terms of the tempo absolute time between two taps of the Select

PARAMETER page 2 <EDIT MOD> TTIME (MODE) to select be-

tween systemtempo and longdelaytap. With (MODE) set to system-

tempo

, everything behaves as we’ve described so far.

, as described above, or it can calculate them as the

TAP key (useful for live situations).

On the other hand, with

T_LOOP” parameter derives its delay time from the interval between

and “ successive taps of the

With

(TTYPE) set to update, the first of two taps marks the beginning of

(MODE) set to longdelaytap, every “T_DELAY”

TAP key.

an interval, and the second tap defines the end of the interval. You can watch the interval grow between the taps at (RUN) and check out the resulting delay time at

(DELAY). A third tap starts the interval over at 0 and a

fourth tap defines the end of the new interval. With (TTYPE) set to climb, the first of two taps begins increasing the exist-

ing interval from the point that it left off, and the second tap defines the end of the interval. Again, you can watch the interval grow between the taps at (RUN) and check out the resulting delay time at (DELAY).

To reset the interval with

(TTYPE) climb, select an external modulator

such as pedal 1 under EXT_RESE. Turn to page 41 for details on setting up external controllers.

Envelope-following Parameters: SENS, ATTACK, and DECAY

Many algorithms involve parameter modulation via an “envelope follower.” An envelope follower tracks the level of the input audio and modulates some parameter according to that level. Envelope filters are a prime example of this sort of modulation: the envelope follower modulates the cutoff frequency of a resonant filter. In the Eclipse, envelope followers frequently modulate LFO rates so that as the input signal gets louder, the LFO rate speeds up.

(SENS) adjusts the sensitivity of the envelope follower. Use lower values

for quieter input levels and higher values for louder input levels. Short values of (ATTACK) and (DECAY) track the envelope tightly, while longer values smooth out the response.

LFO Parameters

LFOs (low-frequency oscillators) abound! An LFO produces a slowly alternating signal that modulates some parameter or another.

(T_RATE) determine how fast the signal oscillates. (FMRATE) and (T_FMRATE) determine to what degree the speed of oscillation is affected

by the envelope follower (i.e., the loudness of the input audio). nating signal (go figure!). For shapes such as shape. Via change their pulse length relative to the

(DUTY), triangle waves can vary between sawtooth and ramp-shaped, and square waves can

(RATE).

triangle and square the (DUTY) parameter “shifts” their

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(RATE) and

(SHAPE) determines the shape of the alter-

Eclipse User Manual

If the (RATE) is changed either “manually” or via a tempo update, an LFO will (of course) alter its rate. The old rate is crossfaded to the new rate. The length of the crossfade is determined by age of the old rate. Thus, a value of

100% means that the crossfade will be complete in one cycle of the old

rate.

(RETRIG) as a percent-

When you tap in a new tempo

with the TAP key or start an external sequence that’s connected to the Eclipse, the LFOs will “start over.” You determine where in the waveform the LFO starts with the parameter. Your choices are position to the new position by an amount determined by

–180 deg to 180 deg. When the LFO starts over, it crossfades from the old

(RETRIG) de-

scribed above. In addition to restarting when you tap in a new tempo

with the TAP key or start an external sequence that’s connected to the Eclipse, you can cause the LFOs to e-synchronize every beat

PARAMETER page 2 <EDIT MOD> RETRIG (TAP RETR) to pulses. Note

for perfectly timed effects. Simply turn

that this is under the “mod block” (<EDIT MOD>) and as such is “global” in scope (its status isn’t saved or loaded with programs).

Further, you can have the LFOs “start over” when the input audio crosses a given threshold. Select which input causes them to “start over” with

in1, in2, 1+2 under PARAMETER page 2 <EDIT MOD> RETRIG (AUDIO RE). Adjust the threshold that causes them to retrigger under (THRESH).

off,

Sends and “Manual” Parameters

Littered throughout the parameter pages are

(SEND) and (MANUAL_P)

soft keys. Both affect the signal level sent into the algorithm. While handy in their own right, they truly shine when used in conjunction with MIDI foot controllers, MIDI sequencers, or the back panel foot pedal jacks. Simply “patch” them to a handy external modulator (see page 37) and you can enjoy “un-zippered” send level control.

(ANGLE)

Want the last words of a desperate singer to delay off into oblivion? “Patch” a MIDI sequencer to the

(SEND) of a fat delay and crank it from 0% to 100% on the phrase, “I’ll love you forever…” Works well

in live situations, too. If you investigate the separately provided “Eclipse Algorithms” document, you’ll notice most algorithms

have an “S” somewhere in their signal path. That’s the point at which the

(SEND) or (MANUAL_P) does its

business.

Routing and Levels Between Effects Blocks

You have control over the routing between the two effects blocks (FXA and FXB), the wet/dry ratio of each effects block, and the output level of each effects block. These parameters are located on the second page of

PARAMETER area. Any changes you make here will be saved when you save or update a program. These

the parameters exist to tweak the levels and interaction between the effects blocks to achieve a desired overall effect. Do not use these parameters to adjust the level of the Eclipse relative to the rest of your studio or rack – instead use the parameters found in the

LEVELS area (page 1 8 ).

Routing

Don’t confuse the routing between effects blocks that we’re discussing here with the input mode (LEVELS page 2 input mode selects which input channels will be used (

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{IN MODE}). The routing between effects blocks is saved with a program. On the other hand, the

Stereo, Mono 1, or Mono 2) for every single program

Eclipse User Manual

you load! Put another way, the routing between effects blocks that we’re discussing here will change from program to program depending on what you’re trying to achieve with the effect. For example, a pitch shifter into a reverb ( input mode will likely depend on your studio or rack setup. For example, if you’re using the Eclipse during a mixdown, you’ll probably want to have the input mode set to stereo, but if you’re using it with a guitar, you’ll probably want it in

series) sounds differe nt from a pitch shifter and a reverb (parallel). On the other hand, the

Mono (see page 19).

You can route signals between the two effects blocks in five different ways. Press

(ROUTING) to choose between them. series The effects of block A are effected by block B. Effecting an

effect, if you will. If you wanted a filtered delay, you’d load a filter into block A, a delay into block B, and then route the effects blocks in series.

parallel Each effects block takes a signal from both inputs, and the

output of each effects block is summed. If you wanted a phaser and a delay placed on a signal as if they were coming from two different units (i.e., not a phased delay!), you’d load a phaser onto one effects block and a delay onto the other, and then route the effects blocks in

dual Each effects bloc k takes its signals from a single input, and

parallel.

the output of each effects block is summed. This is useful if you want to effect two different signals. Send a vocal in channel 1 and load guitar in channel 2 and load

VOXPROC onto effects block A. Send a

OVERPRE onto effects block B.

Use PARAMETER page 2 LEVELS {FX LVL} to control the relative volume between the vocal effect and the guitar effect.

PARAMETER page 2

dual mono E ach effects block take s its signals from a singl e input, and

each effects block sends i ts signals to a single output. This is similar to

dual described above, except that the outputs

of each effects block are not mixed!

xfade Only one effects block runs at a given time. However, by

setting

SETUP MODES page 2 (XFADE) to some nonzero

value, when you load a program, the old program and the new program will smoothly crossfade. In addition to creating unique effects in its own right, xfade is useful for smooth onstage transitions.

Wet/Dry Ratio

With the Wet/Dry ratio you can make an effects block pass its input signal unaltered (

100% wet). Or you can have half original signal, half effect (50% wet).

( And so on. Press PARAMETER page 2 LEVELS { FXA MIX} or {FXB MIX} to alter this parameter. Be aware that there is also a “global” wet/dry control in the LEVELS

area that controls how much of the dry input signal will mix with the signal coming out of the DSP chip (the output of both effects blocks via their routing). The global wet/dry control will not change from program to program and might be more suited to a guitarist’s needs than those described here. ! see page 20

0% wet) or have none of the original signal present – all effect

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Output Level

The output of each effects block can be attenuated to achieve just the right blend of effects. Press PARAMETER page 2 LEVELS {FXA LVL} or {FXB

LVL} to alter this parameter. Be aware that there is also “global” level attenuation in the

LEVELS area. ! see page 20

Bypassing Effects Blocks

You can bypass an effects block by toggling PARAMETER <FXA: ON> to

<FXA: OFF>. The same thing works for effects block B (FXB). The bypass

status of an effects block is a global function – it is NOT saved and loaded with the program.

To avoid confusion, if either FXA or FXB has been explicitly bypassed by these controls, the red BYPASS light will flash. Of course, if the system as a whole is bypassed, you’ll not be able to see it …..

Loading Different Algorithms into Effects Blocks

You load different algorithms into an effects block of the currently loaded program by selecting a program that already contains the algorithm you want. Think of it as stealing the algorithm and its parameter values. Since programs 100 to 199 represent the raw algorithms themselves, loading a “raw algorithm” is just a special case of the more general procedure. See the separate “Eclipse Algorithms” document for more information about the Eclipse’s algorithms.

First things first; if you want to load an algorithm into effects block B (FXB) make sure PARAMETER page 2 (ROUTING) is something other than

xfade, as this routing restricts a program to only one effects block.

To load a new algorithm, first go to

PARAMETER page 3 (PROGRAM) to select the program that you

Use

PARAMETER page 3.

would like to “steal” the algorithm from. In this case, we’re going to steal from RingPongRoom.

If the program you’re stealing from uses both of its effects blocks (many don’t), you can use PARAMETER page 3 (BLOCK) to select which block contains the algorithm you’d like to steal. Here we can steal from effects block A or we can turn the knob to steal

m_ringtaps

reverb 8 from ef-

fects block B. Finally, press PARAMETER page 3 <LOAD FXA> to load the above-selected algorithm into effects block A

FXA) of the currently loaded program, or press PARAMETER page 3 <LOAD FXB> to load the above-selected al-

( gorithm into effects block B (

Note that if you load an algorithm into effects block B (

KEYS

will be present.

FXB) of the currently loaded program.

FXB), none of the newly loaded algorithm’s HOT

In most cases any two algorithms can be selected and loaded. However, a few algorithms are sufficiently large that they can only be paired with a small one. In such cases you may see a display like the one on the left. This tells you that a large algorithm is currently loaded in effects block A (

FXA), and there is not enough room remaining to load the B effects

block from the displayed program. To get round this, either choose a new algorithm for block A, or look for a smaller one to fit into block B.

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Modulating Parameters Via the modulation block: LFO, ADSR, Envelope, MIDI, Pedals,

and More

OK, up to sixteen parameters per program can be “patched” to the “modulation block” for some seriously dynamic effects. The modulation block can be found under

PARAMETER page 2 <EDIT MOD>.

Without worrying about how exactly we would do this yet, image that we load the program and patch its delay time to the modulation block LFO. Imagine that said LFO is oscillating every

. The delay will modulate every whole note as well! Now imagine that we update Happy Delay and

note

load some other program. Imagine we change the modulation block LFO’s rate to

Happy Delay. Here’s the punch line: the modulation block LFO would still be oscillating once every 1/4

and the delay time would still be patched to it. So now the delay time would modulate every 1/4

note note

! Understanding this example is essential to understanding modulation!

1/4 note and reload

Happy Delay

whole

First we’re going to describe how you accomplish this “patching,” then we’re going to describe how you ac- tually set up the modulation block. Because we’re first showing you how you can use the modulation block, and only then showing you how to set it up, some of what follows might not be crystal clear. Just take in the main points and ponder the creative possibilities.

Patching a Parameter to the Modulation Block’s “Modules”

To patch a parameter, press and hold the soft key associated with the parameter you’d like to patch. We can patch soft key. You can patch parameters from virtually anywhere in the Eclipse.

A new screen pops up. The right side of the screen pertains to a subject covered elsewhere in this manual side of the screen reads

<MODULATE> to call up the page to the right. (SOURCE) selects the

Press

<MODULATE>.

module that will modulate the parameter. The modules we can choose are:

(RING1) by holding down its

HOT KEYS,

(page 30). The more pertinent left

off This “un-patches” the parameter: no modulation will occur! bpm The faster the tempo, the higher the value of modulation. Realize that if the tempo remains

constant (e.g. 120bpm), so too will the value of the parameter being “modulated.”

lfo#1

The modulation block LFO modulates the parameter. ! see page 39

follower#1 The modulation block envelope follower modulates the parameter. ! see page 39 adsr#1 The modulation block ADSR modulates the parameter. ! see page 39 ext1 through ext8

Modules rameter. You decide which external modules are associated with

external to the Eclipse (such as MIDI controllers or foot petals) modulate the pa-

ext1, ext2, ext3, and so

! see page 13

on at SETUP page 3 EXTERNAL. ! see page 41 for more on External Controllers.

hotkey_1 thru hotkey_8

The hotkeys found under HOT KEYS can be used as a modulation source. If a hot key is pre-

sent it will already be controlling a parameter, using it as a mod source allows it to control others at the same time. Suitable choices of scale values makes this a very useful facility.

!see page 30 to learn about Hot Keys

!see below to learn about scaling.

param1 through param4

One of four “generic” parameters modules located at

PARAMETER page 2 <EDIT MOD>

page 2 PARAMS modulates the program parameter of interest. If you patch a bunch of pro-

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gram parameters to one of the generic parameters, you can alter a ll of the patched parameters in concert simply by adjusting the generic parameter. Pretty handy.

(MONITOR) to view the current value of the module selected under

Use

(SOURCE). To the right, we see a value of 14.22%. If the module is

something very dynamic like

lfo#1 or follower#1, this (MONITOR) will

jump around quite a bit.

Scaling Modules and Selecting Modulation TYPE

Here’s the situation: let’s say you’ve selected lfo#1 to modulate a low pass filter cutoff frequency will the filter be at 0Hz? You wouldn’t hear anything. When the LFO is at the top of its cycle, will the filter be at 20,000Hz? This might be what you want, but maybe you only want the filter to cycle between 2000Hz and 4000Hz. How can we make that happen?

(freq). When the LFO is at the bottom of its cycle,

! see page 39

Here’s the solution: Scaling

. Before holding down the (FREQ) soft key,

enter a value of 2000Hz. We’ll call this value the “base” value below. Now hold down the soft key and press <MODULATE> as discussed above.

The total range of possible modulation (

parameter_range) for a fre-

quency parameter is 0 ~ 20,000, but we only want a modulation of 4,000 – 2,000 = 2,000

. To scale, divide the amount of modulation you want by the

maximum available modulation and convert to a percentage. In this case,

(2,000/20,000)

Great! Now we need to select the

100 = 10%. Enter 10.00% under (SCALE).

(TYPE) of modulation. We have three

choices:

unipolar unipolar uses the base value (the value of the parameter before modulation) as a starting

point and adds the modulation value to it. In the example above, the parameter value will vary between 2,000 and 4,000 (it starts at the

base value and modulates up).

bipolar bipolar uses the base value as a starting point and modulates above and below it.

In the example above the parameter value will vary between 1000 and 4,000 (centering on the base value).

absolute absolute ignores the base value and passes the modulation right through, going from mini-

mum to maximum parameter for the swing of the modulation. In the example above, the parameter value will vary between 20 and 2,000.

So, continuing our example, we would select

unipolar under (TYPE) to

get modulation between 2,000 and 4,000Hz. Finally, select lfo#1 under (SOURCE). For a good time (or to troubleshoot), watch your parameter vary on page 2

((FREQ) in this case). Neat!

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Setting Up the Modulation Block

The Modulation Block

Let it be said: The modulation block is totally cool. It’s a collection of modules residing inside the Eclipse waiting to be patched to effects paparameters. The modulation block exists at

MOD>

Changes made to the modulation block are normally saved or loaded with programs. This can be changed by going to SETUP page 1 <modes> and changing

(ModBlock) from Prog to Global. If se t to Global, the modula-

tion block will not change as programs are loaded. Below we’ll examine each menu page in the modulation block that isn’t described elsewhere in this manual.

! TTIME and RETRIG are discussed on pages 32 and 33, respectively.

LFO#1 accesses parameters for the modulation block LFO. The parameters are analogous to those found in

program-specific LFOs as discusse d on page 33. FOLLOW#1 a ccesses para meters for the modulation block envelope follower. The parameters are analogous to those found in program-specific envelope followers as discussed on page 33.

PARAMETER page 2 <EDIT MOD> ADSR#1 accesses parameters for the

modulation block ADSR (attack, decay, sustain, and release). The ADSR is triggered by the level of the input audio and generates an envelope determined by the (ATTACK), (DECAY), (SUSTAIN), (RELEASE), (DLEVEL), and

(SLEVEL) as shown in the picture.

PARAMETER page 2 <EDIT

(ADSR)

in order to “fire,” and values of

PARAMETER page 2 <EDIT MOD> page 2 PARAMS ac cesse s four “gene ric”

determines which input will trigger the ADSR. (SENS) determines how loud the trigger needs to be

(RETRIG) determines how long the trigger will wait after firing to fire again. Higher

(F ATTACK) and (F DECAY) smooth out the trigger signal.

parameters: (VALUE1), (VALUE2), (VALUE3), and (VALUE4). If you link several program-parameters to one of these “generic” parameters, you can alter all of the program-parameters at once just by altering the one “generic” parameter. All four values range from 0 to 100%, but

(VALUE4)

offer greater “resolution” with two decimal spaces.

(VALUE3) and

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More on modulation

On Eclipse, almost everything can be modulated, and almost everything can be a modulation source. For example, a hot key can be used to modulate other parameters, but it can itself be modulated. A powerful demonstration of this is to load or create a dual-effect program. Add a hotkey to control the Wet/Dry mix of FXA, and use this as a modulation source for the Wet/Dry mix of FXB. Set the scale of this modulation to

-100%. Then you have a single knob that will blend the amount of each effect, giving a ‘morph’-like control. Then, modulate this knob with, say, an LFO …….

It is important to note the distinction between modulating a hot key and modulating the parameter to which the hot keys is assigned – this is not the same thing.

!see page 30 to learn about Hot Keys

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External Controllers

SETUP page 3 EXTERNAL “connects” external controllers to the Eclipse.

You can make up to eight “connections,” EXT#1 through EXT#8. Let’s see how one of these “connections” is made, shall we?

First, press

SETUP page 3 EXTERNAL EXT#1. Select the external control-

ler you want to “connect” with (SOURCE). Monitor its value with

(MONITOR). Our choices are: pedal 1, 2 The input from the pedals at the rear panel foot pedal jacks 1 & 2. ! to set these up, see page 44 tip 1, 2 tip is fully modulated when a switch connected between tip and sleeve of the rear foot

pedal jack is closed.

ring 1, 2 ring is fully modulated when a switch connected between ring and sleeve of the rear foot

pedal jack is closed.

tip & ring 1, 2 tip & ring

switch connected between them and sleeve of the rear foot pedal jack is closed.

mod wheel breath con foot con damper

MIDI control message 1 - typically assigned to the mod wheel on a MIDI keyboard. MIDI control message 2 - typically assigned to the breath controller on a MIDI keyboard. MIDI control message 4 - typically assigned to the foot controller on a MIDI keyboard. Triggers when a damper control message (MIDI control message 64) is received with

damper = 1.

portamento

Triggers when a portamento control message (MIDI control message 65) is received with

portamento = 1.

sostenuto

Triggers when a sostenuto control message (MIDI control message 66) is received with

sostenuto = 1.

is fully modulated when the tip and ring are electrically connected and a

soft

hold 2

volume balance pan expression

general 1 – 8 MIDI single

Triggers when a soft control message (MIDI control message 67) is received with

soft = 1.

Triggers when a “hold 2” control message (MIDI control message 69) is received with

“hold 2” = 1. MIDI control message 7 - typically assigned to volume changes. MIDI control message 8 - typically assigned to balance. MIDI control message 10 - typically assigned to panning. MIDI control message 11 - typically assigned to the expression controller on a MIDI key-

board. MIDI control messages 16 through 23. Allows selection of any MIDI control number with

coarse quantization. Input range is 0 to 127. A third pa-

rameter appears, (CNTRL), which selects the controller

MIDI double

number to be used. Allows selection of any MIDI control number with very

fine quantization. Input range is 0 to 16383. A third pa-

rameter appears,

(CNTRL), which selects the controller number to be used. Your choices

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for con are 0 to 31. The MIDI control number con will pass the “coarse” value for the modulation and the MIDI control number the modulation.

(CNTRL) + 32 will pass the “fine” value for

chan pressur pitch wheel note on MIDI program MIDI clock

MIDI channel pressure message. MIDI pitch bend message. MIDI keyboard note number. Middle C on an 88-note keyboard gives a value of “60.” Triggers when a MIDI program change message is received.

Modulates as a function of the BPM (beats per minute) of a MIDI clock signal. The value of this external controller is

input_BPM / 480 = value

so 120BPM yields a value of 0.25, 96BPM yields a value of 0.2, and so on. This MIDI mes-

MIDI start

MIDI stop

off

sage is channel-independent. Triggers when a MIDI start command is received. This MIDI command is channel-

independent. Triggers when a MIDI stop command is received. This MIDI command is channel-

independent. No external controller will be connected.

For all of the above MIDI messages (except for those involving “MIDI clock”), if

SETUP page 2 MIDI (CHANNEL) is set to Omni, then the MIDI

message will be accepted on any channel. On the other hand, if

SETUP page 2 MIDI (CHANNEL) is set to a specific

channel (e.g., 6), then you must select the channel that the external controller will be accepted on.

Jumping back to

SETUP page 3 EXTERNAL EXT#1, select (CHANNEL).

Your selection is made relative to the channel selected in the MIDI setup. In the example shown to the right, our base channel is 6 so EXT#1 will respond to MIDI messages on channel 8 (6 + 2 = 8).

As opposed to “manually” selecting a MIDI controller along with its proper channel and control number, a feature exists that “captures” the

first MIDI message sent to the Eclipse. Press

EXT#1 page 2 <CAPTURE>, and then send the Eclipse the MIDI message

SETUP page 3 EXTERNAL

you would like to use.

Dedicated External Controllers

As well as the eight general-purpose controllers described above, there are also a number of single purpose External Controllers.

(BYPASS) Allows you to bypass the Eclipse from a foot switch or MIDI source. Using this controller is

the same as hitting the

(PGM +) Allows you to select a foot pedal or a MIDI source to load the next highest program. This

can be useful in a live performance. Of course, this can be set to

(PGM -) Allows you to select some aspect of the rear foot pedal jacks or MIDI to load the next low-

est program. Of course, this can be set to

BYPASS switch on the front panel. ! See pages 6 and 22 for more on Bypass

Off as well.

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MIDI Setup

In the Eclipse, MIDI can be used:

• with programs that explicitly call for some sort of “external” controller. For example, a program called

MidiHarmony” might call for MIDI n otes to adjust the amount of pitch shifting that is applied to an

“ audio signal.

• to remote control almost any parameter in the Eclipse (including input and output levels) via external

controllers.

! see page 37

• to change programs via MIDI program change messages.

• to “dump” information from one Eclipse to another or to an external storage device.

! see page 27

! see page 46

Several MIDI global parameters bear on all of the above uses of MIDI function. These parameters are found under

SETUP page 2 MIDI. Let’s look at

each parameter in turn, shall we? If

SETUP page 2 MIDI CHANNEL is set to Off, all received MIDI com-

mands are ignored. Settings of 1 to 16 select one of 16 MIDI channels to be the base channel from which MIDI channel numbers will be calculated elsewhere in the Eclipse. Finally, if set to Omni, a MIDI message on any channel is accepted and dutifully obeyed by every MIDI message recipient in the Eclipse. This keeps things simple for simple setups.

SETUP page 2 MIDI MI DIMODE (PGM CHNG) This determines whether the Eclipse will accept and obey

MIDI program change messages.

(NOTE) The Eclipse allows selection of Mono or Poly mode. Poly means one channel has all the

notes (e.g., keyboards).

Mono means each channel plays only one note, but you have multi-

ple channels (e.g., MIDI guitars, wind controllers).

(PRES) If thi s parameter is set to channel, then the last changed MIDI aftertouch message on a

given channel affects all the notes played on that channel. If it’s set to

key, then a MIDI af-

tertouch message on a given channel affects only the note with which it is associated.

(PBEND) When using a MIDI keyboard to play a synthesizer program in the Eclipse, this para meter

controls how many semitones (

0 to 24) a maximum MIDI pitchbend message shifts the

original pitch.

SETUP page 2 MIDI SYSEX (SYS EXC) Setting this parameter to Off will disable system exclusive messages. Settings between 1 and

127 select a Device ID. All system exclusive messages to and from this Eclipse will have this

device ID. If you’re using more than one Eclipse, you can set each one’s Device ID to a different value. Doing so would let them share a common MIDI chain, while allowing system exclusive messages to be sent to each specific Eclipse. Normally, the Device ID is left at 1, the factory default. You can control one Eclipse from another by matching their Device IDs.

(SEQ OUT) If set to On, then every time a parameter is changed or a program is loaded, a corresponding

message is sent out the MIDI port as a sy stem exclusive message. By recording parame ter changes to a MIDI sequencer, you can automate your mix-downs. Simply play back the re-

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corded MIDI sequence at the Eclipse’s MIDI input, and you will see the changes you recorded “played” by the sequencer (assuming MIDI is enabled and the Device ID matches that of the message).

This feature can also be used to make one Eclipse control another one – any parameter change made to the Eclipse sending the sequence will also be made to the Eclipse receiving this signal.

Be warned however, that if you manage to configure the MIDI connections between your various pieces of equipment such that the “system exclusive, sequence out” MIDI messages of the Eclipse loop back into the same Eclipse without delay this will create a situation similar to acoustic feedback, and digital demons will unleash a raging fury inside your helpless Eclipse. So make sure that doesn’t happen! If you aren’t actively using the sequence out feature, it’s wise to leave it

(SYSXSPD) The lower the value of this parameter (1 to 10), the slower the Eclipse will transmit MIDI

messages. This can be useful if the device being sent to is “unhappy” with faster rates.

Off.

That’s it for MIDI globals. The

With the Memory Card removed, the BUSY LED on the front panel illuminate s whenev er a message is r eceiv ed at th e MIDI In port. If the seri al port is “enabled,” messages sent out the MIDI Out port are al so sent out t he serial port. Not e: If the serial po rt is “enabled” and MIDI is “enabled,” a command received over either the serial port or the MIDI In port causes the port not receiving the command to be ignored until the command is complete.

SERIAL menu page is addressed on page 46.

The Rear Panel Pedal Jacks

Each foot pedal jack accepts a stereo (“tip-ring-sleeve”) 1/4-inch connector. Between the ring and sleeve is a fixed 5 volts provided by the Eclipse. The foot pedal that is hooked up to the jack and returned between the tip and the sleeve alters that voltage. calibrate the foot pedal jacks for the particular foot pedals you are using.

Use the SETUP page 2 PEDALS (PEDAL 1) or (PED AL 2) sof t key to toggle between calibration for foot pedal 1 and foot pedal 2. The horizontal bar graph at the top of the menu page represents the current foot pedal position relative to the calibration.

To calibrate your pedal, first select Press

<CAL>.

Then select (TOE) and rock it all the way forward. Press <CAL>. You’re done. Now when you use that foot pedal to modulate parameters, the minimum foot pedal position

will correspond to no modulation and the maximum foot pedal position will correspond to maximum modulation. If you want the opposite to occur (maximum foot pedal position corresponding with no modulation and minimum foot pedal position corresponding with maximum modulation), simply calibrate the pedal as discussed above and then swap the heel and toe values by entering them with the keypad.

SETUP page 2 PEDALS allows you to

(HEEL) and rock it all the way back.

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Storing and Loading Setups

The Eclipse’s global configuration or “setup” can be saved internally in much the same way as a user preset. This “setup” consists of all the machine settings except for the preset, its parameters and related settings. This allows you to get back speedily to a particular past configuration without endless button pushing.

To get to the Setup load and save area, press and hold the PROGRAM key for about a second. The program LED indicator will then flash and you will then see a display similar to the of the Program screen. Not surprisingly, it works in much the same way, so we need not repeat the description. The main difference is the lack of Source or Effect Type flags.

! see page 26 for information on Program Operations - Load, Save, Remove, etc.

On the screen above, the observant reader will note that the displayed setup is [000] Factory Init. This setup contains the factory default settings, and can be loaded to restore the machine to the state at which it left the factory. This setup cannot be deleted or updated, so don’t try ….

It is usually wise to reload the factory settings after performing a software upgrade, or in the event of serious machine misbehavior.

You can also dump setup information to an external storage device and then upload the same information later. ! see page 46

Be aware that saved setups are tagged with the version of software under which they are saved – this is because the contents of a setup will vary with different software versions. If you upgrade your Eclipse’s software to a later version, any previously saved setups will give a warning message when you try to reload them. Usually, reloading them will not cause problems. If all seems OK, update the setups that you need, and the warning messages will magically disappear. Now would be a good time to delete any setups that you are not currently using.

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Utilities

Seitilitu is “utilities” backwards…

Transmitting and Receiving Data via the Serial Port

The serial port can be used to transmit data between the Eclipse and a computer or between the Eclipse and another Eclipse. It is an IBM PC type RS232 connector, which looks like a modem or printer to a connected computer. You can set up the serial port’s parameters under

MIDI S ERIAL .

The first parameter, (BAUD), determines the speed at which messages will be sent out the serial port and the speed at which the Eclipse expects to receive messages at the serial port. The default value, the serial port. The second value,

auto, attempts to “read” the incoming data’s speed and then adjusts the

Eclipse accordingly. Subsequent values specify specific speeds. Similarly,

(PARITY) all describe aspects of the messages se nt out the serial port and as pects of the messages that the

Eclipse expects to receive at the serial port. For things to work properly, all of these parameters must be set to the same values on both the E clipse and

the machine connected to the serial port. Highe r baud rate s re sult in faste r transmi ssion time s, but most ma chines have a ceiling above which errors occur. So set the baud rate to the highest value that you can on both the Eclipse and the machine connected to its serial port that results in error-free transmissions.

SETUP page 2

off, disables

(DATA BIT), (STOP BIT), and

(DATA BIT) is normally set to 8, (STOP BIT) is normally set to 1, and (PARITY) is normally set to None.

You should only need to stray from these values if the device the Eclipse is communicating with is constrained to some other values. If that is the case, change the values on the Eclipse to match the other device.

To aid in troubleshooting, the BUSY LED will illuminate when data is transferred at the serial port, provided no memory card is in place. If the serial port is “enabled,” messages se nt out the MIDI Out port are also sent ou t the serial port. Note: If both the serial port is “enabled” and MIDI is “enabled,” a command received over eith er the serial port or the MIDI In p ort causes the port not receiving th e command to be ignored until the command is complete.

The pin-out for the serial port is: 1 DCD 2 RXD 6 DSR 3 TXD 7 RTS 4 DTR 8 CTS 5 gnd 9 nc For most applications, only pins 2,3, and 5 need be connected.

Dumping Data Via the MIDI and Serial Ports

You can “dump” data from the Eclipse for external storage or for use in another Eclipse. The dumped data will be system exclusive and will be sent out the MIDI Out port and the serial port. None of the MIDI parameters at

SETUP page 2 MIDI has any bearing on dumps except for Device ID. The device ID is used as

part of the system exclusive messages in the dump. While the dump is occurring, a running display of the number of bytes sent is presented for those keeping score at home. You can reload the dumped information into the Eclipse by presenting it at the MIDI In port or the serial port

receive channel is not set to

Off

(provided the device ID is the same and the MIDI

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To dump, go to SETUP page 3 DUMP (DATATYPE). Below is a list of the types of data that you can dump. Press <DUMP> to actually do the deed.

Current Prog Dumps the currently running program. If received at the MIDI In port or a t the serial

port, the Eclipse will load the received program.

Internal Progs

Dumps all programs stored in internal memory. If received at the MIDI In port or at the

serial port, the Eclipse will erase your Memory Card and replace its contents with the re-

ceived programs. If there is no Memory Card in place or if the Memory Card is too

small, the incoming data is ignored.

System Setup This function dumps the state of the Eclipse, covering all of the saved values in the

SETUP area and the LEVELS area. If received at the MIDI In port or at the serial port,

the Eclipse will replace the saved values in these areas with the incoming data.

If the device to which you sent the dump has the ability to send it back again (such as a sequencer), you can use this as a way to "back up" your the Eclipse.

WARNING: If, for any reason, this dump gets corrupted in some way (beyond the Eclipse’s control) and then sent back to the Eclips e, you will lose all the informatio n you are trying to bac k up, as well as the Eclipse's contents. If you do a “backup” in this way, especially to a computer, it would be a good idea to do it twice, to two separate files, and then to compare the size of the files (On a PC, check the “property” of each file. Look at the number in parentheses. On a Macintosh, “get info” on each file. Again, look at the number in parentheses.). If the sizes are identical, i t’s a good indication that the data sent from the Eclipse has been recorded accurately. For the above reasons, it is recommended that setups be sa ved internall y and reloaded when ne ces sary, rather than making heavy use of dumps.

! see page

see page 45

45 to learn about

see page see page

to learn about Storing and Loading

4545

to learn about to learn about

Storing and Loading Setups

Storing and LoadingStoring and Loading

Setups

Setups Setups

Fixing and Initializing Internal Memory

The Eclipse uses solid-state me mory circuits to store programs and setup information internally, using a long-life battery to keep the memory alive while the Eclipse is turned off. Whenever the computer in the Eclipse updates that memory, it performs an operation called a “checksum” and stores the result. A checksum is a calculation whose result characterizes what is stored in memory. A second run of the checksum calculation should result in the same characterization, if the memory hasn’t changed. When the Eclipse is turned on, it runs a checksum calculation on the memory and compares the result against the stored result. If there is a discrepancy, the Eclipse reports an error.

In the unlikely event that an “internal memory checksum error” occurs, there may be a critical problem with what is stored in memory. Pressing

SETUP page 3 SERVICE <FIX> <YES> will remove the checksum error by

forcing the new checksum result to be saved. This will not get rid of the corruption in the data, however. Now, you can assume that the “checksum error” was no big deal, get a cup of coffee, and go back to work

(not advised) OR you can assume something nasty is goi ng on and take imme diate ac tion (advised). A ssuming you take the latter (smart) course of action, the first thing you’ll want to do is to save all of your im portant programs to a card

(see page 29) or to an external storage device (see page 46).

Internal memory “checksum errors” should occur infrequently, if ever. Should they occur more frequently than “infrequently,” contact Eventide, as something is definitely amiss.

Release 1.10.1 Page 47 of 58 Eclipse User Manual

Eclipse User Manual

Fixing Strange Behavior, Freezes, Etc.

In the rare and unlikely event that your Eclipse starts behaving erratically or freezes, the first thing to do is power down, let it sit for a few seconds in the corner to “think about what it did,” then power back up. This will fix most problems.

If it won’t start back up properly, the program that was running when it started behaving strangely is probably to blame. Power down, then power back up while holding down the Eclipse will ask if you want to discard the current program and load MUTE. Select <YES>, but be warned: any changes you made to the “cur-

rent Program

” or the <MOD BLOCK> will be lost.

If this does not resolve the problem, power down and then power back up while holding down the

SETUP key. After a few seconds, the Eclipse will

ask if you want to “return to factory defaults”. Select almost all problems, but will require you to re-enter any you have changed. It will NOT erase any programs that you have saved.

If the Eclipse still won’t fly straight, power down and then power back up while holding down the 8 key. After a few seconds, the Eclipse will ask if you want to clear internal memory. Select

so will erase every program between 0 and 99 and change all of the and

LEVELS area parame ters back to their fa ctory defaults. As dramatic as

this is, it will probably solve your problem.

PROGRAM key. After a few seconds, the

<YES> - this will fix

SETUP values that

<YES>, but be very warned: doing

SETUP

Still having problems? Try reinstalling the operating system as described on page 48. No luck? Your system may have a hardware problem and you should contact Eventide or your dealer for

servicing.

Formatting Memory Cards

If you are worried about the contents of the Memory Card, you should either dump the contents of the memory card to an external storage device

(see page 46) or copy all valuable internal programs to a different

Memory Card, copy the faulty Memory Card’s programs to internal memory and then to a nother Memory

(see page 29). You can also do this with a PC equipped with a suitable Compact Flash card reader.

Card Once you’re sure

that there is nothing worthwhile on the card that isn’t saved somewhere else, press SETUP page 3 SERVICE <FORMAT> <YES>. Be advised: doing so will wipe out everything on the card.

You might also put a label on the card (using adhesive tape, indelible marker, etc.) indicating that a problem occurred along with the date. Keep track of this kind of problem and make multiple backup copies.

Updating Software

The Eclipse Operating System and Factory Presets are field-upgradeable using tools available from Eventide. These updates can be done either with:

• an “Upgrade Card” (a specially coded Compact Flash card) or

• via “OUpdate” (a special Windows Application).

Eclipse User Manual Page 48 of 58 Release 1.10.1

Eclipse User Manual

The latest Eclipse software and the software tools described below can be obtained via the Eventide Web Site http://www.eventide.com/.

Creating an “Upgrade Card”

In order to create an “Upgrade Card,” you must have access to the Eventide website, a PC with a Compact Flash card reader, and an application (e.g., WinZip) that can open and extract zip files. (You may have received an “Upgrade Card” directly from Eventide, in which case you can skip this section.)

1. Download the “Card Upgrade” file from the Eventide website. This file will generally be in the form of a zip file.

2. Insert a blank, formatted Compact Flash card into the card reader attached to your PC.

3. Done!

Updating with a Memory Card

1. Power down the Eclipse.

2. Insert the “Upgrade Card” into the

3. While holding down the

4. Wait patiently for the programming process to finish. If the programming process is successful, a

gramming Com pleted. Cycle Power

5. Power down the Eclipse.

6. Remove the “Upgrade Card” and go about your business. The programming process is complete.

1 key, power on the Eclipse.

MEMORY CARD slot.

Pro-

message will appear.

Installing OUpdate

“OUpdate” requires a PC running Windows 95, Windows 98, Windows NT or Windows 2000.

1. Create a directory (folder) into which all the files we provide can be placed.

2. Using your internet browser, download the “oinstall” application from the Eventide website and save it in the directory you created.

3. Double-click on “oinstall”. You will see the application “OUpdate” appear along with a few associated files.

Upgrade via the OUpdate Application

1. Download the update “.bam” file from the Eventide website (e.g., “esys2100.bam”). Save the file in the same directory (folder) that contains “OUpdate.”

2. Power down the Eclipse.

3. Connect a 9-pin “straight-through” Male-Female serial cable (Radio Shack p/n 26-117) between your PC serial port and the Eclipse serial port.

4. Start the OUpdate application (double-click on its icon).

5. While holding down the 2 key on the Eclipse, power up the Eclipse. You should see Eventide Soft -

ware Update Utility Awaiting Contact

6. If you have not connected the Eclipse to the COM1 port on your PC, you may need to use the “OUpdate Setup” button to change the COM port. You should not change the default settings of 115200 baud, 8 data bits, 1 stop bit, and no parity.

7. Select the appropriate “.bam” file from the list in the OUpdate window (e.g. “esys0610.bam”) and press Send.

8. Wait until both the Eclipse screen and OUpdate application indicate that programming has been completed.

9. Power down the Eclipse. You’re done…

When you next restart the Eclipse, it will ask you if you want to clear the setup, i.e. return the system to factory settings. You should say OK to this, and prepare yourself for the task of re-entering such SETUP values as you have changed.

Release 1.10.1 Page 49 of 58 Eclipse User Manual

Eclipse User Manual

Finding Out The Current Software Version

Press SETUP page 3 SERVICE VERSION to find your current Eclipse software.version.

(SERIALNO) Find out your unit’s serial number without climbing into the

dark recesses of the “cable jungle”.

(SYSTEM) Current operating system software version. (MODULES) Current modules version. (ALGS) Current algorithms version. (PRESETS) Current factory programs “version.” (FPGA) Current FPGA version. Never you mind what an “FPGA”

is…

(HARDWARE) Current hardware version.

Approved Compact Flash Cards

The characteristics of Compact Flash cards may vary, depending on model and manufacturer. The following have been successfully tested by Eventide for use with Eclipse. Other cards may well be entirely suitable but Eventide can take no responsibility for problems or data loss resulting from their use. Other capacities in the same manufacturer’s ranges as those listed below will probably also be suitable.

Manufacturer Product Capacity

SST SST48CF008 8M SST SST48CF016 16M Kingston CF/8 CE 8M New Media NMT00710 8M IBM 1 GB Microdrive 1G SanDisk SDCFB 16M

As we gain experience with other Compact Flash products they will be added to this list.

Eclipse User Manual Page 50 of 58 Release 1.10.1

Eclipse User Manual

Electrical Specifications

Sample Rates

96kHz, 88.2kHz, 48kHz, 44.1kHz or external.

Frequency Response

Sample Rate 44.1kHz 48kHz 88.2kHz 96kHz

+0/-0.1dB 20Hz-20Khz 20Hz-22kHz 20Hz-41kHz 20Hz-44kHz +0/-3.0dB 5Hz-21Khz 5Hz-23kHz 5Hz-42kHz 5Hz-46kHz

Digital Inputs/Outputs

2 AES and 2 S/P DIF at 44.1-96kHz. AES relay bypass at power down.

Analog Input (XLR Balanced Inputs)

Impedance >20kOhm, bridging Full Scale Input

Level Dynamic Range >100dB Signal to Noise Ra-

tio THD+N <0.002% @ 1Khz, -3dBFS Crosstalk <-100db @ 20 Hz to 20kHz, -1dBFS

26dBu

>100dB, A-weighted

Analog Output

Impedance <50Ohm Full Scale Output

Level Dynamic Range >110dB Signal to Noise Ra-

tio THD+N <0.002% @ 1Khz, -3dBFS Crosstalk <-100db, 20 Hz to 20kHz, -1dBFS

26dBu

>110dB, A-weighted

Remote Control Inputs

Up to 2 foot pedals (or 0-5V control inputs), or 6 footswitches, or combination.

MIDI Connections

5 pin DIN output and thru. 7 pin DIN input with output capability and external power jack.

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Eclipse User Manual

Power

25 watts 100-125V, 220-240V, AC 50/60Hz

Size

Inches: 1.75h x 19w x 12.5d Cm: 4.45h x 48.3w x 31.7d

Weight:

12 pounds (5.5 Kg) net, 17 pounds (8Kg) shipping weight All specifications are subject to change or improvement at any time without notice or obligation.

Eclipse User Manual Page 52 of 58 Release 1.10.1

Eclipse User Manual

Warranty Information

Eclipse

The above-identified Eventide unit covered by this warranty is built to exacting quality standards and should give years of trouble-free service. If you are experiencing p r oblems which are not cleared up o r e xplained as nor mal in the manual , your re course is t his warr anty.

What the warranty does and does not cover

Eventide Inc. warrants the above-id entified unit to be fr ee from defects in workmanship and material und er normal operation and service for a period of one year from the date of purchase, as detailed below. At our discr etion within the warranty period, we may el ect to repair or replace th e defective unit. This means that if the unit fails und er normal operation because of such def ect, we will repai r the def ective unit at n o charge for parts or labor. We also assume a limited responsibility for shipping charges, as detailed below.

The warranty does not extend beyond repair or replacement as stat ed herein and in no event will we be resp onsible for consequential or incid ental damages caused by any defect, and such damages are speci fica lly excluded from this warranty. Our s ole obligation is to r epair or replace the defective unit as described herein.

The warranty DOES NOT COVER any damage to the unit regardless of the cause of that damage. The unit is a complex piece of equipment that does not react well to being dropped, bounced, crushed, soaked or exposed to excessively high temperatures, voltages, electrostatic or electromagnetic fields. If the unit is damaged for these or similar causes, and the unit is deemed to be economically repairable, we will repair it and charge our normal rates.

The warranty DOES NOT COVER shipping damage, either to or from Eventide. If you receive a new unit from us in damaged condition, notify us and the carrier; we will arrange to file an insurance claim and either repair or exchange the unit.

If you receive a new unit from a dealer in damaged condition, notify the dealer and the carrier.

If we receive the unit from you with apparent shipping damage, we will notify you and the carrier. In this case, you must arrange t o c ollect on an y in surance held by y o u or your ca r rier. We w ill awai t your instructions as to ho w to proceed wi t h t he unit, b ut we will charge you for all repairs on damaged units.

Who is covered under the warranty

The warranty applies to th e original pu rchaser of a new unit from Eventide or an Authorized E ventide Dea ler. Demo unit s are a lso covered by this warranty under slightly different circumstances (see below). Units that are used, or have been used as part of a rental program, are not covered under any circumstances.

It is your responsibility to prove or to b e able to p rove that you have pu rchased the unit und er circumstances which effect th e warra nty. A cop y of you r pur chase invoice is normally necessary and sufficient for this.

If you have any questions about who is an Authorized Eventide Dealer, call us.

Units with the serial number plate defaced or removed will not be serviced or covered by this warranty.

When the warranty becomes effective

The one-year warranty period begins on the day the unit is purchased from an Authorized Eventide Dealer or, if the unit is drop-shipped from Eventide, on the day shipped, plus a reasonable allowance for shipping delays. This applies whether or not you return your warranty registration form.

When we receive a unit, this is how we determine whether it is under warranty:

1. If the unit was shipped from our factory within the past calendar year, we assume that it is under warranty unless there is evidence to the contrary, such as its having been sold as used or rented, etc..

2. If the unit was shipped from our factory more than a calendar year ago, we assume it is not under warranty unless:

a) There is a warranty registration form on file showing that it has been purchased within the past year under appropriate conditions. b) You send a copy of your purchase invoice indicating warranty status along with the unit.

3. If the unit was used as a demo, the warranty runs from the date that it was received by the dealer. The original purchaser gets the unexpired portion of that warranty.

When you send a unit for repair, you should indicat e wh ether or not you believe it t o be under warranty. If you do not s ay the unit is under warranty, we will charge you for the repair and we will not refund unless the charge was caused by an error on our part. If you believe the unit to be under warranty and you do say it is but we disagree, you will not incur any charges until the dispute is resolved.

Reading the above, you can see that it is to your advantage to send in the warranty registration form when you purchase the unit. If we kn ow who you are, we can send you updates and notifications, and advise you of our new products. It will also enable you to receive pre-shipment of certain parts.

LIMITED WARRANTY

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Eclipse User Manual

Who performs warranty work

The only company authorized to perform work under this warranty is Eventide Inc., Little Ferry, New Jersey. While you are free to give personal authorization to anyone else (or to work on it yourself), we will not honor claims for payment for parts or labor from you or from third parties.

However, we and our dealers do try to be helpful in various ways:

1. Our dealers will assist, usually without charge during the warranty period, in: a) determining whether there is a problem requiring return to the factory, and b) alleviating user error or interconnection problems that may be preventing the unit from operating to its full capability.

2. We are available for telephone consultation if the dealer is unable to assist.

3. If a part is found to be defective during the warranty period and you wish to replace it yourself, we will normally ship the part immediately at no charge, provided your warranty registration form is on file. We reserve the right to request that the defective part be returned to us.

Shipping within the 50 United States

You are responsible for getting the unit to our door at no cost to us. We cannot accept collect or COD shipments.

We will return the unit to you prepaid, at our expense, using an expeditious shipping meth od, normally United Parcel Servic e. In areas not served by UPS we will ship by US Mail.

If you are in a hurry and want us t o use a premium shipping method (such as air express, n ext day air, etc.), be sure you t ell us and agree to pay shipping charges collect. If you specify a method that does not permit collect or COD charges, remit sufficient funds to prepay shipping.

Shipping outside the 50 United States

If you purchased the unit from a dealer in your country, consult with the dealer before returning the unit.

If you wish to return the unit to us, please note the following:

1. The unit must be prepaid t o our door. This means that you are responsible for all shipping charges, including customs br okerage and duties. When a unit is shipped to us it must be cleared through United States Customs by an authorized broker. You must make arrangements for this to be done. Normally, your freight forwarder has a branch in the United States which can handle this transacti on. We can arrange to clear incoming shipments for you. If you want our assistance, you must notify us before shipping the unit for repair, giving full details of the shipment, and including a minimum of $250.00 in US funds to cover the administrative and brokerage expenses. Any balance will be applied to the repair charges or refunded. If a balance is du e to us, we will request a further prepayment.

2. All shipments will be returned to you collect. If this is impossib le because of shipping r egulations or money is due us, we wi ll r eq uest p repa yment from you for the appropriate amount.

3. All funds must be in $ US. Payment may b e made by ch eck drawn on any bank in the US, or by telegraphic funds transfer to our bank. If you send US currency, be sure that it is sent by a method you can trace, such as registered mail. If you wish to pay by Letter of Credit, be sure that it affords sufficient time for work to be performed and the L/C negotiated, and that it is free from restrictive conditions and documentation requirements.

4. We reserve the right to substitute freight carriers. Although we will attempt to honor your request for a specific carrier, it is freque ntly necessary to select a substitute because of difficulties in communication or scheduling.

This warranty gi ves you spec ific lega l rights and you may also have other rights which vary from locat ion to loca tion.

Eclipse User Manual Page 54 of 58 Release 1.10.1

Eclipse User Manual – Signal Flow Diagram

Algorithms, 6,

33 Loading, 19,

Analog input, 8,

14 Guitar, 8, 14

Analog output,

8, 14

Busy LED, 7

MIDI In /

Serial port indicator, 49

Bypass, 6, 24

Effects

blocks, 39

LED blinking,

remote, 45 Checksum, 50 Digital

input/output

ADAT, 14, 27

Brief

overview, 14, 24

Connectors, 8,

External

clock, 25

Internal clock,

Output

format, 26

Selecting

input, 24

Status of

input, 25

Word Clock,

9, 25

Display, 5

Brightness, 20

Understanding

Layout, 11

Understanding

Page

Numbers, 12

Dumping data,

49 Edited LED, 7 Effect blocks

algorithms, 39

Effects blocks,

4, 33, 34

Bypassing, 39

Routing, 38 Emphasis, 27 EXT LED

blinking, 24 External

Controllers,

MIDI capture,

Foot Pedal Jacks

As external

modulators,

44 Jacks, 10 Loading

Programs

with, 46 Setting up, 47

Freezing, 51 Global

parameters, 4

High sampling

rates, unable to load programs, 26

Hot Keys, 5, 33

Assigning, 19,

33 Deleting, 34

Input, stereo or

mono?, 21

Keypad, 6, 12 Knob, 6, 12 Levels

Global, 22

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Eclipse User Manual

Program-

specific, 39

LFO. See

Parameters

Memory card, 6,

20, 52 Meter, 6, 21 MIDI

As external

modulators, 44

Programs,

29 Ports, 9 Setup, 46 System

exclusive,

46 Use with

pedal

boards, 9,

Modulation

block, 4, 6, 40 Individual

modules, 42 Patching

parameters

to, 17, 40 Scaling, 41

Naming Things,

Optimizing

signal quality, 22

OUpdate, 52 Overload, 6, 21 Parameters

Causing a

parameter

to ignore

tempo, 16 Envelope

followers,

36 LFO, 36 Master, 34

Modulating.

See Modulation block

Retriggering

LFO's, 37 Sends, 37 Tap to

determine

delay times,

36 Tempo-

controlled,

16, 35

Power, 5, 8 Program

key, 5 LED blinking,

Programs

Copying. See Crossfading,

29 Interval

during

loading, 28 Loading, 5,

15, 16, 28 Loading with

MIDI, 29 Removing, 30 Saving, 5, 29 Sorting, 15,

16, 28 User Groups,

Rack mounting,

Sample rate, 6 serial port

pin-out, 49

Serial port, 9, 49 Setups

Storing and

loading, 48

Soft keys, 6

Ganged

Parameters,

Eclipse User Manual Page 56 of 58 Release 1.10.1

Eclipse User Manual – Signal Flow Diagram

Understanding

Different Kinds, 11

Software

Updating, 51 Version, 54

Storing data

externally. See Dumping

data TAP. See Tempo Tempo, 4, 6, 15,

Conceptual

flow chart of, 17

Disabling, 16,

Unbalancing

analog connectors, 8

User Groups.

See Programs

Wet/Dry

Global, 22 Program-

specific, 38

Release 1.10.1 Page 57 of 58 Eclipse User Manual

Eclipse User Manual

Eclipse User Manual Page 58 of 58 Release 1.10.1

Eventide 141045 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

The How’s and Why’s of This Manual

The Big Picture – A Must Read

Knobs, Keys, and Jacks

The Front Panel

The Back Panel

Getting Around and Altering Parameters

The “Areas” (e.g. – Levels, Program, Setup, etc.)

Understanding the Display and Soft Keys

The Bottom Line of the Display

The Top Line of the Display

Altering Parameters

Quickstart

Hooking Up To the Outside World

Analog Connections

Digital Connections

Altering the Effects

Tempo

Tempo-Controlled Parameters: T_DELAY, T_RATE, etc.

Tutorial 1: Loading a Program, Setting the Tempo, and Assigning Modulation

Tutorial 2: Creating a Program “from Scratch” and Assigning a Hot Key

Mounting and Handling

Memory Cards

The Display Brightness and Click Features

Global Signal Flow and Levels

Using the Meters

Input Mode (Global Stereo or Global Mono?)

Global Wet/Dry Mix

Global Levels

Bypassing and Muting

Digital Setup

Digital Input

Internal and External Clock Source

Using Higher Sampling Rates Disables Some Programs

Digital Output

ADAT Output or Two-Channel Optical Output?

Program Operations - Load, Save, Remove, etc.

Sorting and Loading Programs

Loading Programs From MIDI and Using MIDI Maps

Saving and Updating Programs

Saving Programs

Updating Programs

User Groups

Removing Programs

Removing ALL Your Saved Programs

Checking free space in internal memory or a card

Naming Things – The Mechanics

Parameters

Hot Keys

Assigning Hot Keys

Renaming Hot Keys

Deleting Hot Keys

Altering Param eters in the PARAMET ER Area

Master Parameters: M_LEVEL, M_DELAY, M_FBACK, etc.

Tempo-based Parameters : T_RAT E, T_ DELAY, T_TAP, etc.

Envelope-following Parameters: SENS, ATTACK, and DECAY

LFO Parameters

Sends and “Manual” Parameters

Routing and Levels Between Effects Blocks

Routing

Wet/Dry Ratio

Output Level

Bypassing Effects Blocks

Loading Different Algorithms into Effects Blocks

Patching a Parameter to the Modulation Block’s “Modules”

Scaling Modules and Selecting Modulation TYPE

Setting Up the Modulation Block

The Modulation Block

More on modulation

External Controllers

Dedicated External Controllers

MIDI Setup

The Rear Panel Pedal Jacks

Storing and Loading Setups

Utilities

Transmitting and Receiving Data via the Serial Port

Dumping Data Via the MIDI and Serial Ports