Page 1
H8000
Operating Manual
for software version 4.
Part No: 1410
©2003
Eventide, and the next step are registered trade marks of Eventide Inc. Harmonizer is a registered trademark of Eventide Inc. for
its audio special effects devices incorporating pitch shift. H8000, UltraShifter and Eve/Net are trademarks of Eventide Inc.
-5 Eventide Inc., One Alsan Way, Little Ferry, NJ, 07643 USA
84 Manual Release 1.1 updated to 1.4 11 March, 2005
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The H8000 Operating Manual
Table of Contents
HOW TO USE THIS MANUAL ...................................................................................................................................................................................1
OVERVIEW AND QUICKSTART _____________________________________________________________________2
THE BIG PICTURE......................................................................................................................................................................................................2
KNOBS, KEYS, AND JACKS.....................................................................................................................................................................................4
The Front Panel 4
The Back Panel 8
GETTING AROUND AND ALTERING PARAMETERS .......................................................................................................................................... 11
Adjusting the Brightness and Contrast of the Display 11
The "Areas" of the H8000 11
Understanding the Display and SOFT KEYS 13
Using the Cursor Keys, the SELECT key, the NUMERIC KEYPAD, and the KNOB 15
Ganged Parameters 15
Entering or Changing Text 16
QUICKSTART OR "NEARLY INSTANT GRATIFICATION"................................................................................................................................. 16
Hooking Up and Internal Routing 17
Loading Routing Configurations 19
The I/O Identifier 21
Setting Input Levels 22
Effecting Things 24
"Panic" Muting 24
Loading Programs 24
Parameters 27
"Tweaking" and Saving "Tweaks" 29
Using User Groups to Organize Useful Programs 30
Wrap Up 31
OPERATION _____________________________________________________________________________________32
Mounting and Ha ndling 32
Memory Cards 32
THE COMPREHENSIVE INPUT / OUTPUT SCHEME.......................................................................................................................................... 34
Signal Flow Inside the H8000 35
Selecting AES/EBU, ADAT, S/P DIF, and Analog Input Signals for Processing 36
Selecting "Sources" for Each DSP 38
Selecting "Sources" for the Outputs 39
Selecting Signals for the Main AES/EBU Outputs 39
Selecting Signals for the Analog Outputs 40
Selecting Signals for the S/P DIF Outputs 40
Selecting Signals for the ADAT Outputs 40
Summing Two Signals to a Single Output 41
Signal Flow Example 41
Storing and Loading Routing Configurations 43
Loading a Routing Remotely Via MIDI 44
Programs’ Effect on Routing Decisions 45
Controlling Levels 47
The Level Meters 47
Controlling the Level of the Analog and Digital Inputs 48
Input Levels, Wet/Dry Ratios, and Output Levels for Each DSP 49
Controlling the Level of the Analog and Digital Outputs 50
DIGITAL SETUP....................................................................................................................................................................................................... 51
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Digital Setup Overview 51
S/P DIF 51
Sampling Rates 52
Using the Internal Clock 52
Selecting the Internal Clock’s Rate 52
The Status of The Digital I/Os When Using the Internal Clock 53
Understanding the "System Sampling Rate and External Sync Indicator" When Using the Internal Clock 54
Using an External Clock 54
Selecting the External Clock 55
The Status of the Digital I/Os When Using the External Clock 55
Understanding the "System Sampling Rate And External Sync Indicator" When Using the External Clock 56
Sample Rate Conversion (SRC) 57
Word Length (Bits) 58
Input Word Length 58
Output Word Length 58
BYPASSING AND MUTING ......................................................................................................................................................................................59
System Bypass 59
Machine Bypass 60
EXTERNAL CONTROLLERS ....................................................................................................................................................................................61
Setting Up the External Controllers 61
Foot Pedals 1 and 2 61
MIDI Setup 62
External Modulation and Trigger Menu Pages 64
"Manually" Selecting an Exter nal Controller for Modulation 65
"Manually" Selecting the External Controller for Triggers 67
External Controller Selection 69
"Automatically" Selecting a MIDI External Controller 70
Scaling the External Controller 70
The Concept Behind "Redirection" - External Assigns 1-8 and Trigs 1 & 2 72
Remote Controlling the Bypass Functions 75
Remote Controlling Parameters 76
Remote Controlling Triggers 76
MIDI Groups 77
Configuring the MIDI Group 78
PROGRAM LOAD, SAVE, DELETE, ETC...............................................................................................................................................................78
Categorizing Programs 79
Categorized by Effects Type...............................................................................................................................................................................79
Categorized by Intended Source .........................................................................................................................................................................80
Categorized by Similar Programs (Banks)........................................................................................................................................................80
Categorized by You (User Groups) ...................................................................................................................................................................81
Categorized by Recent Use ................................................................................................................................................................................81
Searching for and Loading Programs 81
Loading Programs 84
Loading a Program Remotely 84
Loading a Program Via a MIDI Program Change Messa ge 84
Triggering the Next or Previous Program to Load 85
Saving a Program 86
Copying Programs 86
The "Size" of a Program and Its Ra mifications for Storage 87
Updating a Program 87
Renaming a Program 88
Deleting a Program 88
PARAMETERS ............................................................................................................................................................................................................89
System Tempo 89
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System Timer 90
Taps 91
Textblocks 91
Graphics and Curves 92
STORING AND LOADING SETUPS......................................................................................................................................................................... 93
MISCELLANEOUS SETUP OPTIONS ...................................................................................................................................................................... 94
APPENDIX A -UTILITIES__________________________________________________________________________95
TRANSMITTING AND RECEIVING DATA............................................................................................................................................................. 95
Setting Up the Serial Port 95
Dumping Data and Receiving Data Dumps 96
Controlling One H8000 from Another H8000 97
Sending A Program From One the H8000 to Another 97
Sequencing With MID I 98
CONNECTING USER-SUPPLIED CRYSTALS AND EXTERNAL CLOCKS.............................................................................................................. 99
SERVICE AND START-UP OPTIONS....................................................................................................................................................................100
Fixing Internal Memory Problems 100
Fixing PCMCIA SRAM Memory Card Problems 101
Changing the Internal Battery 102
Clear Setup 102
Software Version and Acc essories 103
Start-Up Options 104
ELECTRICAL SPECIFICATIONS __________________________________________________________________ 105
WARRANTY INFORMATION _____________________________________________________________________ 107
INDEX__________________________________________________________________________________________ 109
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IMPORTANT SAFETY INFORMATION
• Before powering up the unit, check that the voltage selector on the back panel is set correctly.
• Do not remove any covers or panels from the unit when the power is connected.
• No operator access to the internals of the unit is permitted - servicing must be performed by qualified
personnel only.
• The unit must not be operated with a damaged or ungrounded power cord.
• Suitable ventilation must be provided for the unit at all times. In particular, the rear and side vents must
not be obstructed. It is best if the top of the H8000 is not hard against the bottom of the unit above.
HOW TO USE THIS MANUAL
The first and second chapters of this manual are the most important ones. The first is the Overview and
Quickstart section. In it you will find essential information regarding the front panel, the back panel, and
the general structure of the H8000. After these preliminaries are out of the way, you’ll start using the H8000
and learning the basic methodologies that you will employ whenever you use the H8000.
The Overview and Quickstart section is not meant to be complete. It’s meant to get you up and running
fast, circumventing thornier issues in favor of speed. If you would like to know more about a particular
topic discussed in this chapter, look to the abundant references contained therein. They’ll point you to
"chunkier" discussions in the remainder of the manual.
Ideally, we would have you read through the Overview and Quickstart section with the H8000 in front of
you, following the examples. After you finish the Quickstart section, we’d have you play with the H8000
for a while. Once the initial "new box euphoria" wears off a bit, we’d have you sit down and read the
Operation section. A true appreciation and mastery of the H8000 cannot be obtained without reading the
manual! We’d have you consult the appendices only when you need specific, technical information. Finally,
when you need to find information days, weeks, months, and years down the road, we’d have you use the
comprehensive Table of Contents and Index.
In particular, a good understanding of
Delete, Etc.
on page 78 and beyond are necessary to get the best from the H8000. In order to use MIDI
Program Change messages it is necessary to understand Categorized by You (User Groups) as described on
page 81.
The Comprehensive Input / Output Scheme on page 34 and Program Load, Save,
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OVERVIEW AND QUICKSTART
THE BIG PICTURE
The Eventide H8000 is a programmable, multi-channel, multipurpose, 96kHz-capable, dual or monolithic
digital signal processor (DSP), 24 bit digital audio signal processor with UltraShifter capability. That’s a
lot of adjectives! It is the successor to a long, proud line of digital signal processors that stretches back to a
time when most audio manufacturers didn’t know digital audio from Morse code.
The H8000 is loaded with features that put it in a class by itself. It has eight AES/EBU digital inputs and
outputs, eight ADAT digital inputs and outputs, two S/P DIF digital inputs and outputs, and two analog
inputs and outputs. Routing among them is very flexible! The H8000 houses two independent signal
processors, each having eight inputs and eight outputs (imaginatively dubbed "DSP A" and "DSP B"). The
two processors can be run in parallel, in series, or in any mutant variation thereof. In addition, the H8000
can run "monolithic programs" that use the processing resources of both DSP A and B to run just one large
program.
The variety and depth of the programs that the H8000 possesses are truly amazing, from lush reverbs, to
choruses, to flanges, to delays, to pitch shifters, to dynamics, to EQs, to filters, to distortions, to
synthesizers, to samplers, to ring modulators, and everything in-between. The H8000 can do it all. And if
that’s not enough, DSP A boasts nearly three minutes of sample time in addition to the 44 seconds of delay
time found on both DSP A and DSP B!
And for the user who is interested in making his or her own programs (if the huge number of factory
programs aren’t enough!), the H8000 continues the "modular programming paradigm" that made the
DSP4000 and its offspring famous. Programs are composed of individual building blocks, or "modules,"
that allow the user to create original programs. Inspiration and creativity are given no bounds. . .
As you read this manual, it may be easy to "lose sight of the forest for the trees." Always bear in mind the
following:
• The H8000 houses two independently running DSPs (digital signal processors). They are lovingly
referred to as "DSP A" and "DSP B." Although they are both always running, you can only view the
parameters for one DSP at a time. Use the PROCE SSO R A/ B key to toggle the display between the two
DSPs. (Both DSPs can be combined to run a single, "monolithic" program - see below.)
• Each DSP runs "programs" that are stored in the system. "Programs" are the algorithms that
manipulate your audio. With the exception of "large sampler programs" and some "long delay"
programs, any program can be run on either DSP. Like two separate effects boxes, the parameters for
the program running on DSP A are totally independent of the parameters for the program running on
DSP B. Like two separate effects boxes, you can connect the outputs of one DSP to the inputs of the
other, or use them completely independently.
• Some processing-intensive programs are designed to run on the resources of both DSPs. These
"monolithic" programs use the input/output routing of DSP A. While a monolithic program is running,
all parameters for DSP B disappear.
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• The H8000 has eight AES/EBU inputs, eight ADAT inputs, two S/P DIF inputs, and two analog
inputs. Only eight of these can be selected at any one time.
• DSP A and DSP B each have eight "virtual" inputs and outputs, which can be patched to the eight
selected inputs, each other, or any of their outputs.
• The H8000 has eight AES/EBU outputs, eight ADAT outputs, two S/P DIF outputs, and two analog
outputs. Conceptually, the AES/EBU outputs are most important because all of the other outputs
derive their signals from the AES/EBU assignments. The ADAT outputs "tap" the AES/EBU outputs
- you can't output something to ADAT that you're not also outputting to AES/EBU. The S/P DIF
output taps AES/EBU outputs 1 and 2. The analog output taps AES/EBU outputs 7 and 8.
• See the inserted routing guide for complete routing details.
Never lose sight of the above facts!!! They are the foundation upon which we will build our understanding!!!
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KNOBS, KEYS, AND JACKS
If this is your first time learning the H8000, don’t be put off by some of the rather in-depth descriptions
that will follow; they exist for your future reference (
now, concentrate on what the various knobs and jacks are called. Their use will be explained progressively
throughout the rest of this manual.
The Front Panel
A) Level Meters These measure the eight signals selected for input, DSP A's eight inputs, DSP B's
eight inputs, DSP A's eight outputs, DSP B's eight outputs, or the eight AES/EBU
outputs (from which all of the other outputs are derived).
→ See The Level Meters on page 47.
once you understand the H8000 and need a quick bit of information). For
B) System sampling rate and external sync indicator.
The top four LEDs display the system sampling rate of the H8000:
48kHz, or 44.1kHz. When solidly lit, they indicate that the system sampling rate is
exact (
between one of the fixed rates (
bottom LED,
→ See Understanding the "System Sampling Rate and External Sync Indicator" When Using the Internal
Clock
→ See Understanding the "System Sampling Rate And External Sync Indicator" When Using the External
Clock
+/- 0.05%). When blinking, they indicate that the system sampling rate is
the LED corresponding to the nearest sampling rate blinks). The
EXT, reflects the current external sync status.
on page 54.
on page 56.
96kHz, 88.2kHz,
C)
BYPASS Press this key to bypass or mute the H8000. This key behaves differently depending
on the settings made on the bypass menu page in the LEVELS area.
→ See Bypassing and Muting on page 59.
D) Bypass Status LEDs:
A illuminated = DSP A is bypassed
•
•
B illuminated = DSP B is bypassed
• both
A and B blinking = system is bypassed
→ See Bypassing and Muting on page 59.
E)
SOFT KEYS These four keys select the menus or events described immediately above them on
the bottom line of the display.
→ See Understanding the Display and SOFT KEYS on page 13.
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F) The display The display tells you what’s going on. In the upper left-hand corner of the display is
either the letter "
display reflects the status of DSP A. Similarly, "
the display reflects the status of DSP B. When neither letter is shown, the H8000 is
running a "monolithic program" that uses the processing resources of DSP A and
DSP B.
to both DSPs. In these areas, th e "
Editor areas, menu pages are DSP specific.)
(Note: the menu pages in the BYPASS, LEVELS, and SETUP areas have some displays that are common
the program running on the currently displayed DSP and the current display area
you’re working in. The bottom line is dedicated to the four
below the display. The middle section of the display changes depending on what
you’re doing!
→ See Understanding the Display and SOFT KEYS on page 13.
G)
PROCESSOR A/B Press this key to toggle the display between the status of DSP A and DSP B. The
upper left-hand corner of the display changes when you press this key; the "
toggles to "
pertaining to one of them at a time.
nothing.
A" or "B" or nothing at all. "A" indicates that what is shown on the
B" indicates that what is shown on
A
" or "B" is irrelevant. However, in the PROGRAM, PARAMETER, and Patch
The remainder of the top line displays the name of
SOFT KEYS directly
A"
B" and vice versa. Both DSPs are always running, but the display only shows the parameters
If you're running a "monolithic program," this button does
H) PROGRAM/ROUTING Press this key briefly to access program functions such as loading, saving,
deleting, etc. The DSP you are loading into or saving from is referred to in the lefthand corner of the display ("A" or "B"). To load into or save from the other DSP,
press the
PROCESSOR A/B key. If you load a "monolithic program" (indicated by a
roman numeral "II" next to its name), it will effectively load into DSP A, and DSP B
will disappear. If you load a "normal" program next, it will load into DSP A, and the
"Thru'" program will be loaded on DSP B.
→ See Program Load, Save, Delete, Etc. on page 78.
Press and hold this key for one second to access the Routing Storage area where
"routing configurations
→ See Signal Flow Example on page 41.
" are loaded and saved.
Press and hold this key again for one more second to access the Setup Storage area
where "setup configurations
→
See Storing and Loading Setups on page 93.
" are loaded and saved.
Press and hold this key again for one more second to access the Usergroup Storage
area where "usergroup
→
See Using User Groups to Organize Usef ul Programs on page 30.
→ To change the "one se c ond hold time" requi r ed to enter the above areas, alter the "key hol d"
parameter on the [misc] menu page in the SETUP area (you may have to press the SETUP key several
times to find it).
" files may be renamed or deleted.
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PARAMETER/PATCH EDIT Press this key briefly to access parameters for the programs that are running.
I)
The parameters shown are for the program running on the DSP referred to in the
left-hand corner of the display ("A," "B," or nothing at all for monolithic programs).
To see the parameters for the program running on the other DSP, press the
PROCESSOR A/B key.
Press and hold the
PARAMETER key for one second to access the Patch Editor. The
patch shown is for the program running on the DSP referred to in the left-hand
corner of the display ("A," "B," or nothing).
→ See the separat e Prog rammer’s Manual for Patch Editor information.
→ To change the "one se c ond hold time" requir ed to enter the Patch Editor, alter the "key hold"
parameter on the [misc] menu page in the SETUP area (you may have to press the SETUP key several
times to find it).
J) SELECT Press this key briefly to select something highlighted by the cursor or to load a
program on the PROGRAM screen.
Press and hold this key for one second to set up a remote control for whatever
parameter is highlighted on the display.
→ See Remote Controlling Parameters on page 76.
→ To change the "one second hold time," alter the "key hold" parameter on the [misc] menu page in
the SETUP area (you may have to press the SETUP key several times to find it).
K)
CURSOR keys Press these keys to move the cursor on the display. The RIGHT CURSOR key moves
the cursor right, the
moves the cursor up, and the
LEFT CURSOR key moves the cursor left, the UP CURSOR key
DOWN CURSOR key moves the cursor down. (We
only break from this convention in the case of loading programs, where the left and
right cursor keys do some more interesting stuff!)
→ See Using the Cursor Keys, the SELECT key, the NUMERIC KEYPAD, and the KNOB on page 15.
L) The
KNOB Spin the KNOB to change the value of whatever parameter is highlighted.
→ See Using the Cursor Keys, the SELECT key, the NUMERIC KEYPAD, and the KNOB on page 15.
→ To change the "one second hold time," alter the "key hold" parameter on the [misc] menu page in
the SETUP area (you may have to press the SETUP key several times to find it).
M) BUSY LED If a Memory Card is in place, this LED illuminates when data is being written to the
card. Don’t remove the Memory Card if this LED is lit! If no Memory Card is in
place, this illuminates when data is present at the MIDI In port or at the serial port.
Use the latter feature to troubleshoot communication problems between the H8000
and the rest of the world.
N) Memory Card slot
Insert a Memory Card here to add new programs or to save your own.
→ See Memory Cards on page 32.
O) Memory Card release
Press this key to release the Memory Card (but don’t press it if the
BUSY LED is lit!).
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P) The
Q)
R)
NUMERIC KEYPAD
Use the numbers, decimal point, and minus sign to enter numeric values or to enter
numeric text in a text field.
CXL "Cancels" the last entered digit. It’s like the backspace key on a computer.
!
!/"""" keys Use these keys to increment or decrement a parameter’s value. When
!!
entering the name of a program, the ! key toggles between capital to lower-case
letters and the " key toggles between "insert" and "overwrite" modes.
ENT After you’ve entered a numeric value with the NUMERIC KEYPAD, press ENT
to enter it. In many contexts,
→ See Using the Cursor Keys, the SELECT key, the NUMERIC KEYPAD, and the KNOB on page 15.
POWER Flip this switch to bring the H8000 to life! When the power is off the unit is
ENT behaves just like the SELECT key.
bypassed, i.e., most audio inputs are connected to their corresponding audio output.
LEVELS Pressing this key accesses menus for metering and levels.
→ See Controlling Levels on page 47.
S)
SETUP Pressing this key accesses menus for routing, digital configuration, MIDI
configuration, service utilities, data dump utilities, and program advance options.
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The Back Panel
a) AC Voltage Selector
Line up the dot with the triangle so that your preferred voltage is up. It is absolutely
essential that you select the voltage corresponding to your local AC power! Check
this carefully before first powering the unit, and after moving to a different country.
b) Fuse Holder A 1-Amp Slow Blow fuse. Always replace it with the correct value.
c) AC Port Connect an IEC standard 3-prong AC power cord here. The center post is chassis
ground.
AES/EBU Digital Audio Input/Output (Professional)
Use these connectors to connect professional digital audio gear to the H8000. These cables are differential
with a shielded twisted pair. Eventide recommends the use of purpose-manufactured Digital Audio cables,
which have low capacitance and a controlled impedance, for carrying AES signals. Ordinary microphone
cables will usually work at 48kHz, but are likely to reduce range and add jitter and possibly distortion to the
signal. It is unlikely that long lengths of microphone cable will prove satisfactory for 96kHz operation.
d) AES/EBU input and output jacks
Connect these inputs and outputs to other
AES/EBU-specified gear. If the
parameter
DIN 1/2 on the inputs menu
page in the SETUP area is set to AES/EBU, then digital inputs 1/2 are accepted at
AES/EBU input 1/2 jack.
→ See Digital Setup on page 51.
e) Analog Audio input and output jacks
To use the analog inputs, set IN 7/8 to
Analog 1/2 on the inputs menu page in
the SETUP area.
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The H8000’s XLR analog audio output jacks are male. Pin #1 is
ground. Pin #2 is +phase (hot) and pin #3 is -phase.
21
To "unbalance" the jack, use pins #1 and #3 as ground and use
pin #2 as "hot." If either pins #2 or #3 are unconnected, you
3
will get more noise than signal !
The H8000’s analog inputs accept either mono or stereo 1/4"
connectors or balanced XLR connectors. The H8000’s XLR
input connectors are female. Pin #1 is ground. Pin #2 is
+phase (hot) and pin #3 is -phase.
2
1
1/4"
To "unbalance" the XLR or 1/4" jack, use both pins #1 and #3
as ground and use pin #2 as "hot." If either pins #2 or #3 are
3
unconnected, you will get more noise and hum than signal !
These may be used as both line and guitar inputs, depending on the input level
setting. Using a "mono" jack will correctly unbalance the input.
→ See Controlling the Level of the Analog and Digital Inputs on page 48.
S/P DIF Digital Audio Input/Output (Consumer)
S/P DIF is a consumer digital audio standard, with two audio channels encoded into a single connector.
Use these connectors to hook up the H8000 to CD players, DAT recorders, and other audio gear using this
format. 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.
Eventide recommends the use of professional quality cables made of RG-59/U coaxial cable. Ordinary "hifi" type leads will probably prove inadequate. Eventide does not recommend the use of S/PDIF at sample
rates above 48kHz.
f) S/P DIF 1/2 input and output jacks
To select the S/P DIF digital input, set
DIN 1/2 on the inputs menu page in the
SETUP area to S/P DIF.
g) Word Clock input and output jacks
The H8000 sends a clock signal out of its
word clock output. Use it to synchronize
other equipment to the H8000. By
changing Word Clock to enabled on the misc menu page in the SETUP area, the
H8000 can slave to another device’s word clock output.
h) Foot Pedal jacks 1 and 2
Stereo 1/4" connectors. The sleeve is ground reference, the ring is +5 volts (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
trigger events (including remote program loads).
→ See Foot Pedals 1 and 2 on page 61.
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i) Relay Jack
Two relays are connected to this Stereo 1/4" connector. They can be controlled
from suitable programs, allowing the H8000 to drive real-world equipment, and can
switch up to 1.0A at 30V dc. Relay #1 is connected between ring and sleeve, while
Relay # 2 is connected between ring and tip. All of these connections are electrically
isolated from the H8000. See the separate Programming Manual for information on
controlling the relays.
j) ADAT input and output jack
These receive digital audio from and send digital audio to other ADAT-capable
devices, using a standard "light-pipe" connector. Note that the ADAT protocol
does not support higher sampling rates (88.2kHz and 96kHz). To use signals
from the ADAT input, select them at the
route signals to the ADAT output, select them at the outputs menu page in the
SETUP area. These jacks cannot be used as optical-type S/P DIF connectors.
k) MIDI MIDI is used for instrument to instrument digital communications. The H8000
sends and receives Eventide system exclusive messages that allow a MIDI sequencer to
remote control the H8000, among other things. In addition, the H8000 may respond
to standard MIDI messages and may output standard MIDI messages. The H8000
has three MIDI ports:
• In - the H8000 accepts (and processes) MIDI messages received at the MIDI In
port. The connector is "7 pin" and can also send MIDI messages to a suitably
equipped system. A normal "5 pin" MIDI cable can be used as a standard MIDI
input.
• Out - the H8000 sends MIDI messages to other devices via the Out port.
messages are also sent out th e seria l port if they are "enabled."
• Thru - Any MIDI information received at the MIDI In port is echoed directly
to the MIDI Thru port regardless of the H8000’s configuration (as long as the
H8000 is powered up) .
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 "enabled" and MIDI is "enabled," a command received over either the
serial port or the MIDI In port ca uses the port not receiving the command to be ignored until the command is complete.
→ See MIDI S etup on page 62.
inputs menu page in the SETUP area. To
MIDI
l) Eve/Net Ethernet-like jack for use with Eve/Net remote controllers. See the Eventide Web
Site http://www.eventide.com
for more information on Eve/Net. Do not connect
this jack to an Ethernet network or electrical damage may result..
m) Serial Port An IBM PC type RS232 connector that looks like a modem or printer to a connected
computer. Connect a "9 pin" serial cable to this port to transfer information to and
from a personal computer. Do not
file transfer between two computers - it will not work.
BUSY LED on the front panel illuminates whenever a message is received at the serial port. Note: If the serial port 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.
→ See Setting Up the Serial Port on page 95.
use the "null modem" type of cable designed for
With the Memory Card removed, the
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GETTING AROUND AND ALTERING PARAMETERS
Adjusting the Brightness and Contrast of the Display
Before we begin to describe the H8000’s interface, we ought to
make sure you can see the display! To adjust the contrast of the
display, press the
SOFT KEY under the display menu. Turn the KNOB to adjust
contrast or press the DOWN CURSOR key and turn the KNOB to
adjust
brightness.
The H8000’s interface is divided into several functional "areas." You access each area by pressing its key.
You’ll know which area you’re in because the LED next to its key illuminates (except for the BYPASS area,
but that one’s obvious). The areas are:
PROGRAM Press the PROGRAM key to access this
SETUP key four times, then press the leftmost
The "Areas" of the H8000
area. Inside you’ll find utilities for sorting
programs, loading programs, saving
programs, deleting programs, and
grouping programs of your choosing into "user groups." Press the PROGRAM key to
access additional
→ See Program Load, Save, Delete, Etc. on page 78.
SOFT KEYS.
ROUTING Storage Press and hold down the PROGRAM key
for one second to access this area. The
LED next to the
PROGRAM key blinks.
Here you’ll find utilities for loading,
saving, or deleting "routing configurations."
→ See Signal Flow Example on page 41.
→ To change the "hold time," see Miscellaneous Setup Options
on page 94.
SETUP Storage Press and hold down the PROGRAM key
again for one second to access this area.
The LED next to the
PROGRAM key
blinks. Inside you’ll find utilities for
loading, saving, or deleting "routing configurations."
→ See Storing and Loading Setups on page 93.
→ To change the "hold time," see Miscellaneous Setup Options
USERGROUPS Press and hold down the PROGRAM key again for one second to access this area.
The LED next to the
PROGRAM key blinks. Inside you’ll find utilities for renaming
on page 94.
or deleting "User Groups."
→ See Using User Groups to Organize Useful Programs on page 30.
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PARAMETER Press the PARAMETER key to access this
area. Here you’ll find the parameters for
the currently loaded programs. Continue
pressing the
additional
→ See Parameters on page 89.
The PARAMETER key also gives access to the built-in Patch
Editor. Press and hold down the
second to access this area. The LED next to the
key blinks. The Patch Editor allows you to create your own
effects from scratch or to customize programs that already exist.
→ See the separat e Prog rammer’s Manual for more inform ation on the Patch E ditor.
→ To change the "hold time," see Miscellaneous Setup Options
LEVELS Press the LEVELS key to access this area.
Inside you’ll find level and Level Meter
parameters.
→ See Controlling Levels on page 47.
PARAMETER key to access
SOFT KEYS (if available).
PARAMETER key for one
PARAMETER
on page 94.
SETUP Press the SETUP key to access this global,
"catch-all" area. Inside you’ll find routing
parameters, digital setup controls, global
MIDI setup, global "external" setup,
display contrast/brightness, the pedal jacks’ setup, dump data utilities, next/previous
program advance, and miscellaneous service utilities. Press the
once to access additional
SOFT KEYS.
SETUP key more than
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Understanding the Display and SOFT KEYS
Every "area" in the H8000 makes use of the display, so understanding the display is critical. A generic
screen of the sort typically found in the
the display that remain constant no matter what area of the H8000 you’re in.
PARAMETER area is shown below. It exemplifies various aspects of
First, in the upper left-hand corner of the screen is either the letter "
the program name This is the "DSP Display Indicator." If it reads "
sensitive" screen is in reference to DSP A. If it reads "
is in reference to DSP B. Press the
screens in the
parameters for one of them at a time. The "DSP Display Indicator" lets you know which one you’re modifying. Look to it often.
PROGRAM, PARAMETER, and Patch Editor are "DSP sensitive." Both DSPs are always running, but the display only shows the
PROCESSOR A/B key to toggle the display between the two DSPs. The
B," then everything else on a "DSP sensitive" display
A," the letter "B," or the beginning of
A," then everything else on a "DSP
If there is no "
A" or "B" in the upper left-hand corner of the screen, the H8000 is running a "monolithic
program." Monolithic programs use the signal processing resources of both DSPs. They use the routings for
DSP A. While a monolithic program is loaded, DSP B effectively disappears.
The remainder of the upper left-hand corner of the screen always shows the name of the program currently
running on the DSP referred to by the "DSP Display Indicator." In the example shown above, we’re
running a program "1210 Chorus" on DSP A. The upper right-hand corner of the screen always describes
the menu page you’re looking at. In the example shown above, we’re looking at the "
chorus 2 params"
menu page.
Situated along the bottom of the display are the so-called "
below the display select menu pages or events corresponding to these
SOFT KEYS." The four physical keys located
SOFT KEYS. (They’re called "soft"
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because their function changes depending on context.) The "More Soft Keys" indicators are the little
arrows next to the first and last
access the current display again, you will access more
pages exist in a nether-world beyond the display. . .
For example, press the
SETUP key to see the "More Soft Keys"
indicators.
Press the
SETUP key again to get more SOFT KEYS.
Press the
set of
SETUP key a few more times to return to the original
SOFT KEYS.
A "Stacked"
SOFT KEY (shown on the format and pedals menu pages above) indicates that if you
repeatedly press the "stacked" SOFT KEY, you will access more menus. The graphic is meant to imply that
there are more pages lying "below" the "top" one.
For example, repeatedly press the
stacked SOFT KEY midi. Press midi.
Press it again to get a second menu page.
Press it again to get a third menu page.
Press it twice more to return to the original menu page.
Pressing a
SOFT KEY repeatedly that is not stacked puts the H8000 into "self-destruct" mode. Just kidding.
It has no effect.
When you press a
SOFT KEY, it becomes highlighted. The middle section of the screen is a menu page
corresponding to that highlighted
Use the
→ See Using the Cursor Keys, the SELECT key, the NUMERIC KEYPAD, and the KNOB on page 15.
KNOB, the NUMERIC KEYPAD, and the SELECT key to change and enter values.
Before moving on, we ought to say that not all
menu pages. Some
SOFT KEYS are "triggers." A "trigger" is a
key that triggers an event, get it? You’ll always know the
difference between menu page
KEYS
because menu page SOFT KEYS are rectangular, whereas
trigger SOFT KEYS are hexagonal. On this screen Operate and
info are menu pages, and <On/Off> is a trigger.
SOFT KEYS. They indicate that if you press the "area" key you used to
SOFT KEYS. The arrows are meant to imply that more
SETUP key until you see the
SOFT KEY. Use the cursor keys to "move around" on the menu page.
SOFT KEYS are
SOFT KEYS and trigger SOFT
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Using the Cursor Keys, the SELECT key, the NUMERIC KEYPAD, and the KNOB
We use the CURSOR keys, the KNOB, the SELECT key, and the NUMERIC KEYPAD to navigate and
manipulate the menu pages found in the
We’ll discuss their use in the
PROGRAM and Routing Storage areas in a bit.
Use of the cursor keys is straightforward. The
right, respectively. The
UP and DOWN CURSOR keys move the cursor up and down, respectively. (Go
figure...)
Use the KNOB, NUMERIC KEYPAD, or the !/" keys to alter the
value of a numeric
this screen to change the value of
directly with the
parameter. For example, spin the KNOB on
Mix or enter a new value
NUMERIC KEYPAD (pressing ENT when you’re
done).
Use the
parameter. For example, spin the
change
KNOB or the !/" keys to alter the value of a text
KNOB or press the ! key to
Shape from Sine to Triangle on this screen.
Numeric parameters and text parameters cover 99% of the
parameters you’ll see in the H8000, but there are a few more esoteric parameters you’ll encounter. One
such oddball is the "trigger" parameter. You place the cursor over a trigger parameter, and trigger it by
pressing
SELECT. It will trigger something (no doubt fascinating) to happen. Other oddballs include "Taps"
and "Graphics."
→ See System Tempo on page 89.
→ See Graphics and Curves on page 92.
→ The left and righ t c ursor keys behave di fferently than you mig h t expect in the PROGRAM ar ea. Please see Loading Programs
page 24 for a brief introduction, and Loading Programs
→ See wheel speed
on page 94.
PARAMETER, Patch Editor, LEVELS, BYPASS, and SETUP areas.
LEFT and RIGHT CURSOR keys move the cursor left and
on page 84 fo r a more detailed discussion.
on
Ganged Parameters
In some cases there are multiple, related parameters that are
usually adjusted together. To make such "mass adjustments"
easy, a feature exists that gangs parameters together. The
outputs menu page in the SETUP area contains a good example
of ganged parameters. The purpose of this menu page is to
assign signals to the AES/EBU digital outputs. Such assignments are typically made in quad or stereo
gangs. So, all four parameters are initially ganged together. Spin the
KNOB and all four values change.
Now, let’s say you only want to change the assignments to DIG1
DIG2. Press the DOWN CURSOR key to "un-gang" DIG3 and
and
DIG4. Now spin the KNOB; only the values for DIG1 and DIG2
change.
Going further, let’s say you only want to change the value of
DIG1. Again, press the DOWN CURSOR key to "un-gang" DIG2.
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Now, spin the KNOB - only the value of DIG1 changes. Press the DOWN CURSOR key repeatedly to cycle
through the various gang possibilities: next
DIG3 is alone, then DIG4 is alone, and lastly we arrive at our starting point - all four parameters are
then
ganged together. Gangs are much easier to use than to describe, so take a minute and play with the gangs
on this menu page. You will find gangs sprinkled liberally throughout the H8000 as their presence facilitates
many tasks.
In some menus, it will be necessary to enter or change text. For
example, you will often change text when saving a new program.
The method by which this is done is straightforward, albeit a bit
tedious
KEY.
over the
. To play along, go to the PROGRAM area and press the
(You may have to press the PROGRAM key a second time to see it.) Move the cursor
rename
field and press SELECT.
Here’s how it works:
• The upper-left portion of the display contains the text that’s being changed. Here we’ve entered "I Can
Type Fas..." - we’re not quite done.
• The
•
CURSOR keys take you around the virtual keyboard.
SELECT enters the currently selected letter (equivalent to actually pressing a key on a real keyboard).
• The " key toggles between "insert" and "overwrite" modes. Alternatively, you can place the cursor over
Ovr/Ins and press SELECT.
• The
KNOB moves the insert/overwrite point.
• The ! key toggles between capital and lower-case letters and
gives you access to very special characters such as "
and "
&". Alternatively, you can place the cursor over Caps
and press
SELECT.
• The numeric keypad enters numbers, a decimal point, or a
minus sign.
• When you are finished naming the thing that needed naming, place the cursor over
SELECT. If you change your mind and don’t want to name the thing that you thought needed naming,
place the cursor over
Quit and press SELECT.
DIG2 alone is selected, then DIG3 and DIG4 are ganged together,
Entering or Changing Text
<Save as>
SOFT
!", "@",
Enter and press
QUICKSTART OR "NEARLY INSTANT GRATIFICATION"
All right, all right! Areas, displays, SOFT KEYS, parameter this, scroll that. . . BUT WHAT CAN IT DO?
Let’s cut to the chase and get you up and running! Besides, if you played with the box a good deal before
moving on to the finer points of operation, those finer points will stick better to the ol’ gray matter. . .
Here are the steps we will take:
1. First, we’ll connect the H8000 to the rest of your gear.
2. On page
19, we’ll route signals between all of those inputs, outputs, and DSPs you’ve been reading so
much about.
3. On page
4. On page
5. On page
22, we’ll set the input levels so that things don’t distort.
24, we’ll learn how to "mute" the H8000 in the event of feedback.
27, we’ll run programs on DSP A and DSP B and we’ll run "monolithic programs." Moreover,
we’ll "tweak" their parameters.
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6. Finally, on page 29, we’ll learn how to save the programs you’ve "tweaked" for future use.
Hooking Up and Internal Routing
Before we concentrate on what happens inside the H8000, we ought to get it hooked up to the rest of your
rack.
→ See The Back Panel on page 8 for informatio n on the jack types and their specifications.
Hook up the analog inputs to suitable output sources, such as
an analog mixer’s effect sends or the outputs of a preamplifier.
The connections may be made with either balanced XLR
connectors or unbalanced 1/4" connectors. You can plug a
guitar into the 1/4" jacks, but you will need to turn up the input gain. This happens at the "bottom" inputs
menu page in the LEVELS area.
→ See Setting Input Levels on page 22.
Hook up the balanced analog outputs to suitable input recipients, such as an analog mixer or an amplifier.
Hook up the AES/EBU, S/P DIF, and/or ADAT digital inputs to suitable output sources, such as a DAW
(digital audio workstation) or a keyboard with digital outputs.
Hook up the digital outputs to suitable input recipients, such as a DAW, a sampler, or a DAT machine.
You can specify whether the S/P DIF and AES/EBU 1/2
output signal uses the "consumer" or "professional" protocol at
the "second"
the "consumer" protocol set DOUT 1/2 to S/P DIF. To select
the "professional" protocol set
To be clear, the signal assigned to digital outputs 1/2 will come out both the AES/EBU 1/2 port and the
S/P DIF port regardless of your choice. Your choice simply defines the digital protocol the signal will use.
Both AES/EBU 1/2 and S/P DIF use the same protocol as defined on this menu page. Use the professional
(AES/EBU) protocol unless you have a compelling reason to do otherwise ... you are a professional, aren't
you ? Eventide does not recommend the use of S/P DIF above 48kHz sampling.
Unless you’re only using the analog inputs and outputs, you’ll
need to make sure all of the digital devices in your studio or
rack are slaved to the same clock source. The H8000 can
generate its own clock at 44.1kHz, 48kHz, 88.2kHz, or 96kHz
as selected by
If you use the H8000’s internal clock, be sure that the digital
devices that are connected to it derive their clock signals from
the H8000. If you are unable to synchronize any of the
AES/EBU inputs or the S/P DIF input, turn on the H8000’s
sample rate conversion (SRC) algorithm on the "second" and "third" clock menu pages in the SETUP area.
The H8000 does not have sample rate conversion for the ADAT inputs.
format menu page in the SETUP area. To select
DOUT 1/2 to AES/EBU.
Source on the clock menu page in the SETUP area.
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Depending on the particulars of your digital setup, you may wish
to slave the H8000 to another device. The H8000 can slave to the S/P
DIF input, the AES/EBU input 1/2, or the ADAT input as selected by
Source on the clock menu page in the SETUP area. The H8000 cannot
slave to AES/EBU inputs 3 through 8.
→ To read about the digital setup in more detail, see Digital Setup on page 51.
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Loading Routing Configurations
As was stated in the Overview, the H8000 houses two separate DSP engines. DSP A is always running a
program and DSP B is always running another program or they "combine their forces" to run one large
program (monolithic mode). When using both processors separately, the program running on DSP A does
not necessarily have anything to do with the program running on DSP B, and the program running on DSP
B does not necessarily have anything to do with the program running on DSP A! (The display can only
show the parameters for one of them at a time - use the
When running "monolithic" programs, DSP B effectively
disappears. The monolithic program uses the routing
configuration for DSP A. When you are done with the
monolithic program and load DSP-specific program, DSP B’s
previous routings will be restored - it will "reappear." You can
identify monolithic programs in the
DynoMyPiano_Ambience and Piano & Vocal Halls in this screen shot).
PROGRAM area by a Roman Numeral "II" next to their name (e.g.,
While the functioning of DSP A is quite independent of DSP B and vice versa, we can route signals between
them. Each DSP can accept eight input signals and produce eight output signals. The signal routing
between the various ins and outs and the two DSPs is comprehensive and can be manually configured in
just about any way imaginable. However, for the purposes of this "Instant Gratification" section, we’ll stick
to a sample of the routing configurations that come as presets in the H8000. (Besides, you’ll probably use
these preset configurations most of the time because they cover the most obvious and necessary routing
configurations.)
→ To learn how to manually configure the routing configurati on, see Signal Flow Inside the H8000 on page 35.
To access the preset routing configurations, press and hold down
PROGRAM key for one second to enter the Routing Storage
the
area. The LED next to the
PROGRAM key will begin to blink
and the upper right-hand corner of the display will read
"Routings." Use the UP and DOWN CURSOR keys to place the
cursor over the routing configuration you would like to load and then press
many of the preset routing configurations in English and complement that description with a block diagram.
The routing configuration "name" as saved in the H8000 precedes each description.
→ To change the "one second hold time," see Miscellaneous Setup Options on page 94.
PROCESSOR A/B key to toggle between displays.)
SELECT. Below, we describe
"Analog A->B"
Both analog inputs go into DSP A, the
output from DSP A goes into DSP B, the
output from DSP B goes into both the
analog outputs the digital outputs.
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"AES A->B"
All eight AES/EBU inputs go into DSP A.
The outputs from DSP A go into DSP B,
the outputs from DSP B go into all the
outputs.
"ADAT A->B"
All eight ADAT inputs go into DSP A. The
outputs from DSP A go into DSP B. The
outputs from DSP B go into all the outputs.
"SP DIF A->B"
Both SPDIF inputs go into DSP A, the
output from DSP A goes into DSP B, the
output from DSP B goes into both the
analog outputs and the SPDIF outputs.
"AES 8 Track A,B"
The first four AES/EBU inputs go into DSP A, out from
DSP A into the first four AES/EBU outputs. The last
four AES/EBU inputs go into DSP B, out from DSP B
into the last four AES/EBU outputs.
"ADAT 8 Track A,B"
The first four ADAT inputs go into DSP A, out from
DSP A into the first four ADAT outputs. The last four
ADAT inputs go into DSP B, out from DSP B into the
last four ADAT outputs.
"Analog A||B"
Both analog inputs get sent to both DSPs. The first two
outputs of each DSP are summed before being sent to
the analog outputs.
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"SP DIF A||B"
Both S/P DIF inputs get sent to both DSPs. The first two
outputs of each DSP are summed before being sent to the
S/P DIF outputs.
"AES A || B"
All eight AES/EBU inputs go into DSP A and DSP B, all
eight outputs from both DSP A and DSP B are summed
at the AES/EBU and ADAT outputs.
"ADAT A || B"
All eight ADAT inputs go into DSP A and DSP B, all
eight outputs from both DSP A and DSP B are summed
at the AES/EBU and ADAT outputs.
The I/O Identifier
While each DSP has eight inputs and eight outputs, it’s not necessarily the case that every program will
utilize all eight inputs or all eight outputs of the DSP it’s running on. Every program is unique and uses
only the number of inputs and outputs that are necessary for its function. For instance, a program that
synthesized sound would not need any inputs! A program that modulated one stereo signal with another
would need four inputs (two for the carrier and two for the modulator) but only two outputs (for the result
of the modulation). Again, the function of a program determines how many inputs and outputs are utilized
on the DSP running the program.
Notice that to the right of every program name in the PROGRAM
area is a two-digit number (press the
PROGRAM key to get there).
This two-digit number is known as the "I/O Identifier." In the
case of the program "BasicRoom" shown to the right, the two
digit number is "
24." In the case of the program
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"Compressor_8" shown to the right, the two-digit number is "88." The first digit indicates how many
inputs are utilized, and the second digit indicates how many outputs are utilized. If the "I/O Identifier" for
a program were "13," DSP input 1 would be used while inputs 2 through 8 were dead, and DSP outputs 1,
2, and 3 would be used while outputs 4 through 8 were dead. A program will utilize the same number of
inputs and outputs regardless of whether it is loaded on DSP A or DSP B.
→A small number of programs have no I/O identifier. See If the I/O Identifier is not visible on page 45 for more information.
Those DSP inputs or outputs that are not used by the program are "dead" - no signals are passed by them.
Knowing which inputs and outputs a program uses can affect which routing configuration you choose to
use. You probably wouldn’t want to place a program that only utilized two inputs after a program that
utilized four outputs because two of those outputs would be connected to "dead" inputs.
hurt anything if you did, but the signals at the two outputs connected to "dead" inputs would be "lost.")
This scenario is depicted in the
diagram above.
It’s important for you to think about which inputs and which outputs from DSP A and DSP B are "dead" in
the context of the routing configuration you’ve chosen. Nevertheless, things usually work out more easily
than this brief warning might cause you to believe!
→ For more information on this topic, including examples, see Programs’ Effect on Routing Decisions on page 45.
(Of course, it wouldn’t
Setting Input Levels
As we’re sure you know, getting a high, but not distorted, signal at
every point in a signal path is essential. The Level Meters help us to
achieve this goal. In the
LEVELS area go to the meter menu page
to reach this screen. Adjust Source (with the KNOB or the
INC/DEC keys) to inputs. The eight Level Meters now reflect input
levels of the signals defined on the inputs menu pages in the SETUP
area.
In this cursory introduction, we only fiddle with the levels at the inputs but, rest assured, you can change
levels anywhere in the signal path.
→ See:
• Controlling the Level of the Analog and Digital Inputs
• Input Levels, Wet/Dry Ratios, and Output Levels for Each DSP
• Controlling the Level of the Analog and Digital Outputs
on page 48.
on page 49.
on page 50.
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Of course, it’s always best to optimize levels at their source
(leaving the H8000’s boost/cut at 0dB). But if you can’t, then go
to the
analog inputs (as set on the "second"
press it twice so that only the analog input levels are shown. Here
you can boost/cut the analog inputs by +30dB/-90dB before they are digitally converted - setting the gain
before the converters gives the best characteristics.
• You can cut the analog inputs after digital conversion and the
inputs menu page in the LEVELS area. If you’re using the
<inputs>
menu page in the SETUP area),
digital inputs by 0db/-100dB on the first inputs page (this
screen will may look different depending on your routing configuration). Assuming
you set the
meter menu page in the LEVELS area, the meters reflect the
Source of the Level Meters to inputs on the
input levels after the boost/cut is applied. You want the loudest portions of the signal to approach, but
not reach, the red "clip" LED at the top of the Level Meters. If you do clip a signal, you won’t hurt the
H8000, but you will hurt your chances for career advancement - a clipped signal typically sounds nasty.
→ For more inf or m a tion on setting input levels see Controlling the Level of the Analog and Digital Inputs on page 48.
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Effecting Things
"The effect on your affect of the H8000’s effects
will positively affect your popularity."
-Anonymous
"Panic" Muting
In a moment you’ll be loading and playing with programs, but
before you do let it be said that the H8000 can produce LOUD
sounds with very little warning in some of the programs in some
situations. It would be nice to have a "panic" key to press in such
a situation. Let’s arrange things so that pressing the
mutes all of the H8000’s outputs. Go to the bypass menu in the LEVELS area (you may have to press the
LEVELS key a few times to see it). Change the value of the system parameter to mute as shown above
(with the
KNOB or the INC/DEC keys). Now, press the BYPASS key. The A and B LEDs begin to blink -
you’ve muted the H8000. To un-mute, press the
→ For more information see Bypassing and Muting on page 59.
BYPASS key
BYPASS key again.
Loading Programs
Assuming you’ve loaded an appropriate routing configuration,
the H8000 should be ready to process! All that remains is to load
a monolithic program or to load a program into each DSP. To
load a program, enter the
PROGRAM area. The two "normal"
menu pages you immediately find here, list and Criteria, work
together to give you access to the H8000’s hundreds of programs in a way that suits your needs. In this
section, we’ll only focus on two parameters on the Criteria menu page, Sort By and Se arch By . Of the
two, Search By is the most important parameter to understand.
→ The remaining parameters are discussed in Loading Programs on page 24.
You will see that each program has a three- or four-digit number
and a name. The program number has two parts - the last two
digits are a number between 0 and 99, the remaining digits are the
bank number. The bank is a loose grouping of related programs,
whose name appears briefly at the top right of the screen when a
program is selected by moving onto it. The screen on the right shows that the selected program is part of a
bank of "Distortion Tools."
Let’s go through an example. Say you want to use a delay-based
program. First, go to the
Criteria menu page in the PROGRAM
area and set Search By to Effect and Sort By to Number.
Then, go to the list menu page. The < - - and - - > SOFT KEYS search through programs as defined by
Search By on the Criteria menu page. Since we opted to Search By Effects, the < - - and - - > SOFT
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KEYS search through all of the available programs to find those that contain certain types of Effects:
• Samplers (S) Pitch shifters (P)
• Reverbs (
• Modulations (
• Equalizers or Filters (
You’ll know which set of effects is currently displayed by the
information provided in the upper right-hand corner of the
screen. In this example, the set contains
Dynamics (compressors, gates, etc.). Notice that all of the
programs shown have a "
processing, among other things.
Press the < - - or - - > SOFT KEYS until you see the set of
programs that contain delays. Notice that all of the programs
shown have a "
they perform delay processing, among other things.
Now, you can use the left and right
KEYS
we’ve been discussing!) to jump through the programs by
"century." Pressing the right
jumps from program numbers that start with 2xx to programs that
start with 3xx, as shown here! Pressing it again would jump to
programs with numbers 4xx. You will recall that the first one or
two digits form the bank number, so using these keys will jump
from bank to bank.
Use the
highlighted section of the screen up or down.
Press the
do, the H8000 moves you to the
tweak the program. Notice that
currently loaded program!
Back in the
where
Source refers to the type of input the program was
designed for. The "searchable" sources are:
• Guitar Vocals
• Drums Keyboard
• Special FX Surround
R) Delays (D)
M) Complex Effects (C)
E) dYnamics (Y)
35 programs that use
Y" icon to the right of their name, indicating that they perform dynamics
D" icon to the right of their name, indicating that
CURSOR keys (not the SOFT
CURSOR key from the screen above
KNOB or the up and down CURSOR keys to move the
SELECT key to load the highlighted program. Once you
PARAMETER area so you can
8 Diatonicshifts is now the
PROGRAM area, you can also Search By Source,
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Press the < - - or - - > SOFT KEYS to flip through programs
designed for these different Sources. Here we see 50 programs
that were designed for use with
the
KNOB behave just as they did when we Searched By
Effect
s.
You can also
Search By Sr c+FX.
Drums. The CURSOR keys and
In this mode, the
< - - SOFT KEY flips through the different
sources (here we see programs designed for use with Gtr). The
- - > SOFT KEY flips through the different effect types (here we
see programs that use a Dly algorithm).
If you
Sort By Name, as shown here, the programs are no longer
displayed in numerical order, but rather are displayed in
alphabetical order.
See? Alphabetical order! Now, pressing the left or right
keys jumps through the alphabet. Pressing the right
here would cause us to jump to
with "
C".
Reverb programs that begin
CURSOR
CURSOR key
9
The "Speed" indicator (a little
) indicates that this program can
6
be loaded and run for use at 88.2kHz and 96kHz sampling rates.
In the screen shown to the right, only Basilica could not be run
at higher sampling rates because it does not have the "Speed"
indicator.
→ See Sampling Rates on page 52 for more information.
The "monolithic" indicator (a Roman Numeral II) indicates that
this program uses the processing resources of both DSP A and
DSP B. In the screen shown to the right, the program
Dtune_VDly_Hall_EQ is a monolithic program. Note the "II"
next to its name. Think of monolithic programs as loading into
DSP A and causing DSP B to disappear.
Any "non-monolithic" program that you
displayed DSP (referred to by the letter in the upper left-hand corner of the
screen)
press the
. If you want to load the program into the DSP not currently displayed,
PROCESSOR A/B key. Doing so will toggle the display to the other
DSP.
SELECT will load into the currently
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Parameters
Simply loading programs probably won’t prove satisfying for too
long; you’ll want to mess with the parameters on the programs
you load. This is accomplished in the
little can be said generally about what you’ll find in the
PARAMETER area because every program in the H8000 is a
unique "algorithm." Each unique algorithm (i.e., program) calls
for its own unique parameters.
→ To learn more about th e "algorithmic" nature of the H8000’s programs, read
the separa te Programmer’s Manual
.
A huge number of the H8000's LFO's, delay times, reverb decays,
etc., are designed to synch to an system tempo defined on the
tempo menu page in the SETUP area. Say you're working on a
song that’s at 130 BPM. Simply set the system tempo to 130 and
most of the H8000's LFO's delay times will be appropriate for the song. No more calculators. You can also
derive the system tempo from a MIDIclock signal applied to the H8000's MIDI input. Simply set Source to
Midiclock.
Parameters that synch to the system tempo are identified by "
such as "
terms such as "
in the
→ See System Tempo on page 89
→ Some parameters, such as delay loops, use the system timer. They are also denoted by "t_". See System Timer on page 90.
t_rate" and "t_fmrate" and are adjusted in musical
whole note" and "dot 1/8." You will find them
PARAMETER area of most programs.
You will usually find an info or about menu page in the
PARAMETER area. In it, you will find general information about
what the program does along with any notes concerning special
parameters or "non-obvious things."
The parameters displayed in the PARAMETER area pertain to the program running
on the currently displayed DSP. That might be DSP A, DSP B, or neither if the
H8000 is running a monolithic program. The letter in the upper left-hand corner of
the display indicates which is the case. If the program name is displayed without
B:, the program is monolithic. Assuming you’re not running a monolithic
or
program, to fiddle with the parameters for the program running on the DSP not
currently displayed, press the
to the DSP you want.
For example, here we’re adjusting parameters for the program
"
1980s Rack" that is loaded on DSP A.
PARAMETER area. Very
t_"
A:
PROCESSOR A/B key. Doing so will toggle the display
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Pressing the PROCESSOR A/B key toggles the display from
parameters for the program running on DSP A to parameters for
the program running on DSP B. After pressing the
A/B
key, we get the screen to the right. Now, we can adjust
parameters for the program "
Whirly Mellow" that is loaded on
DSP B.
If you load a monolithic program, pressing the
key has no effect because monolithic programs use the resources
of both DSPs. Monolithic programs make DSP B effectively
disappear.
Many, but by no means all, of the programs in the H8000
currently support an "expert mode" feature. The expert mode
parameter controlling this feature is found on the misc menu
page in the SETUP area (you may have to press the SETUP key a
few times to find it).
A setting of
9 reveals all of the available menu pages in the PARAMETER area. Settings between 0 and 9 reveal an
increasing number of menu pages in the
parameters to tinker with, at
0 hides all but the most relevant menu pages in the PARAMETER area. Conversely, a setting of
PARAMETER area. Leave expert mode at 9 if you like lots of
0 if you find lots of parameters annoying, or somewhere in-between if your
tastes fall somewhere in-between.
→ See Miscellaneous Setup Options on page 94 for information on the other keys on this screen.
It should also be mentioned that any parameter on any menu page can be "remote controlled" via MIDI or
the rear foot pedal jacks. Telling you how to do this entails discussing voluminous topics such as setting up
MIDI globals, setting up foot pedal globals, and navigating a "remote control" menu page. Such a
discussion wouldn’t be in keeping with the concept of this Quickstart section.
→ If this really piques your interest, go ahead and read:
Setting Up the External Controllers
External Modulation and Trigger Menu Pages
Remote Controlling Parameters
on page 61.
on page 64.
on page 76.
PROCESSOR
PROCESSOR A/B
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"Tweaking" and Saving "Tweaks"
Different sets of parameter values for a single program are said to be different "tweaks" of that program.
As you play with the parameters on the preset programs, you are "tweaking" those preset programs. For
instance, let’s say you want a program that mimics the frequency response of your neighbor’s television as
heard through your wall. You want to "tweak" the parameters of a filter program in order to get the correct
frequency response.
First, load the program "Filter_Q."
Do some long calculations involving transmission coefficients and
dispersion laws to arrive at the proper filter cutoff frequency and
resonance. Enter them. Notice the asterisk "*" that appears after
the name. This is to tell you that the program has been changed
and that you will lose the changes if you don't do a save.
To avoid going through all of the arduous math the next time you want to mimic the frequency response of
your neighbor’s television, you should save your tweaks as a new program. Press the
enter the program area.
Press the
SOFT KEY. Check that there is enough Space and then place the
cursor over the
PROGRAM key a second time and then press the Save
rename field and press SELECT.
Use the fancy typewriter to give your tweak an endearing name.
Then place the cursor over
the
Save menu page.
→ To learn how to enter text, see Entering or Changing Text on page 16.
Enter and press SELECT to return to
Turn the
slot. Then place the cursor over
KNOB on the top line to select an unoccupied program
save and press SELECT!
After selecting
save, you can verify that your program is now
listed under the list menu page in the PROGRAM area. Note that
there is a U to the left of the I/O Identifiers - this shows that
this was saved as a User Program. A C would indicate that the
program was saved on a Memory Card.
Now, you can load your tweak and feel edgy and irritated ev en when the neighbors are on
vacation!
→ To read ab out using Memory Cards, se e Memory Cards on page 32.
PROGRAM key to
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Using User Groups to Organize Useful Programs
The H8000 contains an easy to use facility for organizing programs that you find useful. You may want to
keep a "collection" of your favorite programs. You may want to keep a "collection" of effects that were used
on a particular project. You may want to keep a "collection" of programs for use during a show.
→See Categorized by You (User Groups) on page 81 for more info.
Go to the usergrp menu page in the PROGRAM area. There are
twenty groups in which we can collect programs, ten stored
internally U and ten on a Memory Card C. Let’s say we want to
collect the currently loaded program, Seethy Two Reverb, in
Group3. Simply move the cursor to "Loaded Program" and hit SELECT. This will put the name in the top
row (or, you could use the knob or keypad to find it, but this is easier). Then move to the second row and
turn the KNOB until Group3 appears and press SELECT! This will change out to in and vice-versa. The
Usergroup will be saved automatically every time a change is made.
Now for quick access to your collections, set
on the Criteria menu page in the PROGRAM area.
Grp
Go to the
KEYS to find Group3. There’s the Seethy Two Reverb!
list menu page and use the < - - and - - > SOFT
You can also change the names of the groups to something more
useful than "group." Press and hold the
see the Routing Storage area. Do it again until you see the Setup
Storage area. Do it again! Now you’ll see all the Usergroups!
To rename a group, highlight it with the KNOB. Then tap the
PROGRAM key so you can see the <rename> SOFT KEY. Press
<rename> key and use the typewriter to enter a better name.
the
When you’re finished, use the
Enter key to save your chosen
name!
→See Entering or Changing Text on page 16
Search By to User
PROGRAM key until you
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Wrap Up
So, there you have it. The procedure we followed in this Quickstart section is more or less the procedure
you will follow whenever you use the H8000. First, you will determine an appropriate routing configuration
for the task at hand and either load it from the Routing area or make it from scratch (you’ll learn how in the
Operation guide). Then, you’ll load appropriate programs into DSP A and DSP B being mindful of the
"I/O Identifiers" and their bearing on the routing configuration or you’ll load a monolithic program. This
may be an over-simplification! You may very well select appropriate programs for the task at hand and then determine an appropriate routing
configuration for those programs!
"tweak" the parameters on those programs to fit the situation. When you’re done using a program, you'll
probably save your "tweak" for future use.
Doing this much will give you an appreciation of the horsepower under the hood of the H8000. But only
doing this much won’t give you an appreciation of the amazing versatility of the H8000:
• In addition to simply loading routing configurations, you can manually configure things any way you
like.
→ See Signal Flow Inside the H8000 on page 35.
• In addition to altering levels at the inputs, you can alter and monitor levels at any point in the signal
path.
→ See Controlling Levels on page 47.
• Programs and routing configurations can be saved to and loaded from removable Memory Cards, as
well as internal memory.
→ See Memory Cards on page 32.
• In addition to using system bypass, DSP A and DSP B can be muted or bypassed independently of each
other.
→ See Bypassing and Muting on page 59.
• In addition to loading programs from the front panel, programs can be loaded remotely via MIDI
program change messages or external "triggers."
→ See Loading a Program Remotely on page 84.
• The digital inputs and outputs have comprehensive sample rate and word length parameters to
complement any digital installation.
→ See Digital Setup on page 51.
• Any parameter anywhere in the H8000 can be "remote controlled" via MIDI or the rear panel foot
pedal jacks 1 and 2.
→ See Setting Up the External Controllers on page 61, External Modulation and Trigger Menu Pages on page 64, and Remote
Controlling Parameters
• Existing programs can be altered or entirely new programs can be created in the Patch Editor.
→ See the separate Prog rammer’s Manual.
Once the routing configuration is set and the programs are loaded, you’ll probably
on page 76.
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OPERATION
Mounting and Handling
Normally, the H8000 will be rack mounted in a standard 19 inch rack. If the rack will be taken on the road,
the H8000 should be supported at the rear. It is advisable to keep the rack well ventilated and in a dry, dustfree environment, so that heat and moisture won’t cause degradation of performance. Contrary to some
reports, we have found that soda/beer splashed liberally about the front panel does not enhance the
reliability of the H8000. Since the H8000 has few internal connectors, it should hold up well under "road
conditions."
Memory Cards
All functions that work on internal user memory also work on Memory Cards. The H8000 supports three
types of Memory Card:
1) PCMCIA type 1 ATA.
2) PCMCIA type 1 static RAM up to 4,194,304 bytes (4 megabytes).
3) Compact Flash ATA (using a suitable adaptor).
The H8000 does not
above.
Of the above, the most easily obtainable (and cheapest) is the Compact Flash card, which are used
extensively in digital cameras. These can also be read by PCs (and some Macs) with the use of a low cost
USB adaptor. This allows saved programs to be backed up or organized on the computer.
A static RAM Memory Card will not maintain memory if the battery dies or if the battery is removed. To
change the battery without losing information, change it while it's plugged into a powered-up H8000. A
conservative estimate puts the lifetime of a battery at a year. . . Like gambling on the stock market, bet only
what you can afford to lose. . . Some static RAM cards use a rechargeable battery - these must be left in the
card slot of a powered-up H8000 every now and then in order to maintain their charge.
Insert a Memory Card by pushing it into its slot until it "locks" into place. The Memory Card Release will
"lengthen," and with a PCMCIA SRAM card the display will briefly read Checking "Memory Card". . or
Checking "GTR Library". . or (generally) Checking "whatever-t he-name-of-this-card-is". . .
Remove a Memory Card by pressing the Memory Card Release - but don’t remove a Memory Card when
BUSY LED is lit! A program that was loaded from a Memory Card continues to run even if the
the
Memory Card is subsequently removed. The Memory Card only needs to be in place during
Routing Storage area functions such as loading, Save, update, remove , etc. The BUSY LED is used to indicate that
a Memory Card is being written to. However, if there is no Memory Card in place, the BUSY LED indicates data at the MIDI In port or the serial
port. You may want to use this lat ter feature during a session that requires periodic use of a Memory Card . Simply insert the Memory Card when you
need to load something from it or save something to it. Remove it when you are done loading or saving, and the
indication."
support PCMCIA "Linear Flash," "SmartMedia™," "XM™" or other cards not listed
PROGRAM and
BUSY LED will be available for "data
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When a Memory Card is inserted, the H8000 may report that the card is not formatted and offer to format
it. If the Memory Card has already been formatted and the format question is presented, then there is a
problem. Try removing and reinserting the card. Try blowing on the business end of the card like an old
Atari 2600 game (no spittle!). Formatting will erase all programs and banks on the card!
→ To manually forma t a Me m ory Card, see Fixing PCMCIA SRAM Memory Card Problems on page 101.
Note: Like fine china, Memory Cards are fragile:
• Treat them with respect.
• Don’t lie to them.
• Don’t store them on your dashboard or in your toaster.
• Avoid shocking them with static electricity (or any kind of electricity for that matter).
→ For information about Memory Card problems and how to fix them, see Fixing PCMCIA SRAM Memory Card Problems on page
101.
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THE COMPREHENSIVE INPUT / OUTPUT SCHEME
All right, the word "comprehensive" has been used a bit much in this manual so far, but it’s appropriate!
The various inputs, outputs, and DSPs can be connected in just about any way you can think of!
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Signal Flow Inside the H8000
Routing is accomplished inside the H8000 by first
assigning physical input sources to the "input block"
(long-dashed arrows in diagram). The physical inputs
are:
• S/P DIF
• AES/EBU
• analog
• ADAT
Next, "sources" are assigned to each DSP (solid arrows
in the diagram). The available sources are:
• the input block
• the outputs of DSP A
• the outputs of DSP B
Next, "sources" are assigned to the main AES/EBU outputs (dot-dash arrows in the diagram). Again, the
available sources are:
• the input block
• the outputs of DSP A
• the outputs of DSP B
Note that the S/P DIF output "taps" or "mirrors" main AES/EBU output 1/2, and the analog outputs
"tap" AES/EBU outputs 7/8.
Finally, if need be, "sources" are assigned to the ADAT outputs (short-dashed arrows in diagram). The
available sources are:
• the ADAT inputs (this bypasses the H8000’s processors entirely)
• the signals that are present at the main AES/EBU outputs
The diagram above displays the routing possibilities in a simplified form. We will now zoom in on the
actual menu pages used for routing. Look back frequently to this diagram so as not to "lose the forest for
the trees."
Alternatively, in many cases you can use the routing presets and spare yourself the full complexity.
→ See Loading Routing Configurations on page 19.
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Selecting AES/EBU, ADAT, S/P DIF, and Analog Input Signals for Processing
Let’s focus on inputs first. Even though there are 8 AES/EBU +
8 ADAT + 2 S/P DIF + 2 analog = 20 inputs, the H8000 can
only use eight of them at a time.
You select which eight inputs are used on the inputs menu page
in the SETUP area.
It is important to understand this fully - if an input is not made
visible on the first
it.
Press the
inputs soft key twice to access all of the parameters
mentioned below.
Here are all of the input options:
IN 1 AES/EBU input 1 (make sure DIN 1/2 is set to AES/EBU) or
inputs page, you will not be able to connect to
S/P DIF input 1 (make sure
DIN 1/2 is set to S/P DIF ) or
ADAT input 1, 2,...,8
IN 2 AES/EBU input 2 (make sure DIN 1/2 is set to AES/EBU) or
S/P DIF input 2 (make sure
DIN 1/2 is set to S/P DIF ) or
ADAT input 1, 2,...,8
IN 3 AES/EBU input 3 or
ADAT input 1, 2,...,8
IN 4 AES/EBU input 4 or
ADAT input 1, 2,...,8
IN 5 AES/EBU input 5 or
ADAT input 1, 2,...,8
IN 6 AES/EBU input 6 or
ADAT input 1, 2,...,8
IN 7 AES/EBU input 7 (make sure IN 7/8 is set to AES/EBU 7/8) or
Analog input 1 (make sure
IN 7/8 is set to Analog 1/2) or
ADAT input 1, 2,...,8
IN 8 AES/EBU input 8 (make sure IN 7/8 is set to AES/EBU 7/8) or
Analog input 2 (make sure
IN 7/8 is set to Analog 1/2) or
ADAT input 1, 2,...,8
Notice that you’re slightly constrained. If you want to use the S/P DIF inputs, you can’t use AES/EBU
inputs 1/2. If you want to use the analog inputs, you can’t use AES/EBU inputs 7/8. Selecting ADAT
inputs entails being unable to use some other inputs. Such is life on our finite globe.
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Let’s run through a complicated input example, just to make sure
you’ve got all this straight! The
area’s default setting looks like this - just the eight AES/EBU
inputs selected.
Let’s assume we want to hook up a guitar to analog input 1. On
the "bottom"
inputs menu page, change IN 7/8 to Analog 1/2.
If you return to the "top" inputs menu page, the change is
reflected in the lower right-hand corner.
Since guitars have a very low signal level, you'll want to boost the
analog input level before A/D conversion. This happens at the
"bottom" inputs menu page in the LEVELS area.
OK, the guitar’s happy. Let’s also pretend you want to effect the
S/P DIF output of a keyboard. On the "bottom"
page in the SETUP area, change DIN 1/2 to S/P DIF .
If you return to the "top"
reflected in the upper left-hand corner.
Now the keyboard is happy. Let’s also assume we’d like to effect
outputs 1 and 2 from an ADAT. Simply select
ADAT in 2 in place of two of the inputs we’re not already using,
such as 3 and 4.
Finally, assume you'd like to effect the AES/EBU outputs of a workstation. You haven’t "used up" IN 5
IN 6 - simply plug the AES/EBU output of the workstation into AES/EBU input 5/6 and you’re in
and
business.
Note that the use of all these various digital inputs implies that they are either synchronized together (by
Wordclock, for example) or that sample rate conversion is enabled.
→ See Using an External Clock on page 54 for more information.
inputs menu page in the SETUP
inputs menu
inputs menu page, the change is
ADAT in 1 and
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Selecting "Sources" for Each DSP
To select "sources" for DSP A, go to the dsp A menu page in
the SETUP area. By spinning the KNOB on the left side of the
menu page, you scroll through your "source" options. These
options are the eight inputs assigned to the input block as
described above, and the eight outputs (each) of DSP A and B.
S/P DIF in x Connects the S/P DIF input x to one of DSP A’s eight inputs.
→ For this option to appear, the S/P DIF inputs must be assigned to the input block as de s c ribed in
Selecting AES/EBU, ADAT, S/ P DI F, and An al og In pu t Signals for Pr oces s in g on pa ge 36.
AES/EBU in x Connects the AES/EBU input x to one of DSP A’s eight inputs.
→ For this option to appear, AES/EBU input x must be assigned to th e input block as desc ribed in
Selecting AES/EBU, ADAT, S/ P DI F, and An al og In pu t Signals for Pr oces s in g on pa ge 36.
ADAT in x Connects the ADAT input x to one of DSP A’s eight inputs.
→ For this option to appear, ADAT input x must be assigne d to the input block as described in
Selecting AES/EBU, ADAT, S/ P DI F, and An al og In pu t Signals for Pr oces s in g on pa ge 36.
analog in x Connects the analog input x to one of DSP A’s eight inputs.
→ For this option to appear, the analog i nputs must be assigned to the input block as de s c ribed in
Selecting AES/EBU, ADAT, S/ P DI F, and An al og In pu t Signals for Pr oces s in g on pa ge 36.
dsp A out x Connects DSP A’s output x to one of DSP A’s eight inputs. Yes, if you hook up an
output directly to an input, nasty feedback can occur! Use caution.
dsp B out x Connects DSP B’s output x to one of DSP A’s eight inputs.
---------- Connects "silence" to one of DSP A’s eight inputs.
Although it will frequently be the case that, say, AES/EBU
inputs 1 through 8 will be connected to DSP A’s inputs 1 through 8,
things don’t have to be connected in such an orderly way. You
can mix and match as the spirit moves you. To the right, you see
a particularly pathological assignment. You need only "undo" the
ganged parameters by repeatedly pressing the
→See Ganged Parameters on page 15 to refresh your memory on "gangs."
DOWN CURSOR key to select such diverse "sources."
Selecting the "sources" for DSP B is similar to the procedure
used for DSP A. You can see that the
SETUP area is "stacked." Pressing either the dsp A SOFT KEY a
dsp A menu page in the
second time or pressing the PROCESSOR A/B key will reveal that
the page "below" dsp A is an analogous menu page for DSP B.
All of the comments made above for DSP A apply here for DSP B.
→ Note: All of the parameters discu ssed in this section can be "remote con tr olled" via MIDI or the foot pedal jacks. To learn how,
read:
• Setting Up the External Controllers
• External Modulation and Trigger Menu Pages
• Remote Controlling Parameters
on page 61.
on page 64.
on page 76.
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Selecting "Sources" for the Outputs
Now, let’s focus on the outputs. The key to routing signals to the outside world is the following dictum:
"the AES/EBU digital outputs reign supreme!" Why? The ADAT, S/P DIF, and analog outputs "tap" into
the main AES/EBU outputs for their signals (i.e., the signal ends up going out both the AES/EBU port and
the other port). So in order to send a particular signal (e.g., DSP A output 1) to one of these other outputs,
you must first assign it to an AES/EBU output. Only then can these other output types tap into it!
The "sources" that are available for output are:
analog in x Connects analog input 1 or 2 directly to one of the outputs. The output will be
unprocessed because this direct connection bypasses both DSP A and DSP B.
Although this connection will rarely be made, it may prove useful in some situations.
→ For this option to appear, the analog i nputs must be assigned to the input block as de s c ribed in
Selecting AES/EBU, ADAT, S/P DIF, and Analog Input Signals for Processing on page 36.
S/P DIF or AES/EBU in x
Connects digital input 1, 2, ..., 8 directly to one of the outputs. The output will be
unprocessed because both DSP A and DSP B will have been bypassed! Although this
connection will rarely be made, it may prove useful in some situations.
→ For this option to appear, the these inp uts must be assigned to the input block as des c ri bed in
Selecting AES/EBU, ADAT, S/P DIF, and Analog Input Signals for Processing on page 36.
ADAT in x Connects ADAT input 1, 2, ..., 8 directly to one of the outputs. The output will be
unprocessed because both DSP A and DSP B will have been bypassed! Although this
connection will rarely be made, it may prove useful in some situations.
→ For this option to appear, ADAT input x must be assigne d to the input block as described in
Selecting AES/EBU, ADAT, S/P DIF, and Analog Input Signals for Processing on page 36.
dsp A out x Connects DSP A’s output 1, 2, ..., 8 to one of the outputs.
dsp B out x Connects DSP B’s output 1, 2, ..., 8 to one of the outputs.
---------- Connects "silence" to one of the outputs, i.e. disconnects it.
Selecting Signals for the Main A ES/ EB U Outp uts
Since assigning signals to any output first requires assigning it to
the AES/EBU outputs, let’s first learn how to assign signals to
the AES/EBU outputs. Use the "top" two menu pages under
outputs in the SETUP area to assign signals to the AES/EBU
outputs. The screen to the right shows DSP A outputs 1 through
4 assigned to AES/EBU outputs 1 through 4 (they’re shown on
the screen as DIG1, DIG2, etc.).
You can make similar assignments to AES/EBU outputs 5
through 8 by pressing the
outputs SOFT KEY again. Here we’re
sending DSP B outputs 5 through 8 to AES/EBU outputs 5
through 8.
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Selecting Signals for the Analog Outputs
Great! Routing signals to the two analog outputs is easy - they
simply tap AES/EBU outputs 7/8. If we want to send DSP A
outputs 1 and 2 to the analog outputs, we’d just assign them to
AES/EBU outputs 7 and 8, as shown to the right.
Selecting Signals for the S/P DIF Outputs
Routing signals to the S/P DIF outputs is easy, too. They tap
AES/EBU outputs 1/2. If you want to send DSP B outputs 1
and 2 to the S/P DIF output, you’d just assign them to
AES/EBU outputs 1 and 2, as shown to the right.
You can specify whether the S/P DIF signal uses the "consumer"
or "professional" protocol at the "second"
the SETUP area. To select the "consumer" protocol, set DOUT
to S/P DIF. To select the "professional" protocol, set DOUT
1/2
to AES/EBU.
1/2
Maybe that’s a little confusing - to be clear, the signal will still come out both the AES/EBU 1/2 port and
the S/P DIF port regardless of your choice. Your choice simply defines the digital protocol the signal will use.
Both AES/EBU 1/2 and S/P DIF use the same protocol as defined on this menu page. Use the professional
(AES/EBU) protocol unless you have a compelling reason to do otherwise ...
format menu page in
Selecting Signals for the ADAT Outputs
The ADAT outputs "tap" or "mirror" the main AES/EBU outputs. This means that only signals
connected to the main AES/EBU outputs can be sent to the ADAT outputs (there is one exception - the
ADAT inputs can be connected directly to the ADAT outputs).
To configure the ADAT outputs, go to the "third"
outputs
menu page in the SETUP area (keep pressing the outputs SOFT
KEY until you see the "ADAT Outputs" screen to the right).
OUT1 to OUT8 are the ADAT outputs - just turn the Knob to select an AES/EBU output for each one
to tap!
If we want to connect a specific signal to a specific ADAT output, we simply connect it to the main
AES/EBU output that the ADAT output taps, as set up on the above screen. For example, if we want to
feed DSP A out 1 to ADAT OUT2, we must first connect it to the source for ADAT OUT2, which in the
screen above is AES/EBU out2.
→See Selecting Signals for the Main AES/EBU Outputs o n page
39.
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Summing Two Signals to a Single Output
The right-hand side of the outputs menu page in the SETUP
area allows you to connect a second "source" to each main
output. For example, you could sum the outputs of each DSP at
AES/EBU outputs 1 through 4, as shown to the right. At
AES/EBU output 1 we would find the outputs of
DSP B out 1; at AES/EBU output 2 we would find the outputs of DSP A out 2 and DSP B out 2, and
and
so on.
There is a chance that adding loud, but undistorted, signals may result in distortion. To eliminate this possibility, reduce the level of each of the signals
being added by -3dB. See
→ Note: All of the parameters discu ssed in this section can be "remote con tr olled" via MIDI or the foot pedal jacks. To learn how,
read:
Setting Up the External Controllers
External Modulation and Trigger Menu Pages
Remote Controlling Parameters
Input Levels, Wet/Dry Ratios, and Output Levels for Each DSP on page 49 to see how.
on page 61.
on page 64.
on page 76.
Signal Flow Example
Now that you’re familiar with the actual menu pages employed in signal routing, let’s run through a realistic,
but fairly involved signal routing. Five main steps are required for routing any configuration
1. Select "sources" for the "input block" at SETUP / inputs.
2. Select "sources" for DSP A’s inputs at SETUP / dsp A.
3. Select "sources" for DSP B’s inputs at SETUP / dsp B.
4. Select "sources" for the AES/EBU outputs at SETUP / outputs. (Recall that the rest of the outputs
"tap" the AES/EBU outputs.)
5. Select "sources" for the ADAT outputs at SETUP / outputs ("bottom" menu page).
Once the routing is configured, you can, at your discretion, change levels at:
• The analog inputs. Use LEVELS / inputs ("bottom" menu page for pre-A/D adjustments, the
"top" menu page for post A/D adjustments (not recommended)) (not saved in the Routing Storage a r ea).
• The digital inputs. Use
LEVELS / inputs (not saved in t he Routing Storage area).
• The inputs to DSP A. Use LEVELS / dsp A.
• The inputs to DSP B. Use LEVELS / dsp B.
• The outputs of DSP A. Use LEVELS / dsp A.
• The outputs of DSP B. Use LEVELS / dsp B.
• The analog outputs. Use LEVELS / output (not saved in the Routing Storage a r ea).
• The digital outputs. Use LEVELS / output ( not saved in the Routing St orage area).
You can also alter the "Wet/Dry" ratio inside each DSP at LEVELS / dsp A or LEVELS / dsp B .
→ These leve ls pa r ameters are discusse d a t length in Controlling Levels on page 47.
DSP A out 1
:
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Now, let’s assume we’ve
loaded a multichannel effect
on DSP A, such as 8*10
Grafic Eq
effectively places a 10-band
equalizer between each of
its inputs and outputs. It
behaves like eight
independent equalizers.
Let’s say you want to use
these equalizers on a pair of
S/P DIF inputs, a pair of
ADAT inputs, and a pair of
AES/EBU inputs. Further,
assume you’ve loaded
Backward Garden on
DSP B and you want to use
it to effect a monophonic,
pre-amplified guitar that’s
being played into stereo
cabinets. You also want to
record the Backward Garden effect to ADAT channels 7 and 8. Our routing configuration looks like the
diagram above.
Let’s run through how we’d actually set this up!
Starting with the input block, we need to make sure the
and Analog inputs are enabled. Do this at the "bottom" inputs
menu page in the SETUP area.
Then we need to make sure the appropriate inputs are selected at
the input block. Do this at the "top"
SETUP area. We’re not planning on using input 8 so it doesn’t
really matter what gets assigned there!
Now, we need to assign the S/P DIF, AES/EBU, and ADAT
inputs to the first six inputs of DSP A. Do this at the
menu page in the SETUP area. Strictly speaking, assigning silence
-----------) to the last two inputs isn’t really necessary since
(
we don’t plan to use those outputs …
Now, we need to assign analog input 1 to DSP B’s inputs 1&2.
Do this at the
the DSP A menu page!). Again, assigning silence to the remaining
inputs isn’t necessary because Backward Garden only has two
"live" inputs (its "I/O identifier" is
. This program
S/P DIF
inputs menu page in the
DSP A
DSP B menu page in the SETUP area (it’s "below"
22).
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Cool. Let’s assign the AES/EBU outputs now at the outputs
menu page in the SETUP area. Recall that the S/P DIF outputs
simply "tap" AES/EBU outputs 1/2 and that the analog outputs
"tap" AES/EBU outputs 7/8. The first four AES/EBU outputs
are the first four outputs from DSP A.
AES/EBU outputs 5 and 6 correspond to DSP outputs 5 and 6.
AES/EBU outputs 7 and 8 (and hence the analog outputs)
correspond to DSP B’s outputs 1 and 2.
Finally, let’s assign the appropriate signals to the ADAT outputs.
Do this at the "bottom"
Notice that ADAT inputs are also connected to the ADAT
channels that we weren’t interested in using (3 through 6). We
probably didn’t need to …
And that’s it! Once you get the hang of it, making custom routing configurations is no sweat!
Nevertheless, you don’t have to wrestle with all those parameters every time you want to change the routing
configuration. As you’ll recall, in the Overview and Quickstart section we used the Routing Storage area for
loading entire routing configurations in one go. In addition to loading the preset routing configurations that
came with the H8000, you can also save your own configurations for future use.
→ Block diagrams and descript ions of t he preset routing configurations can be found in Loading Routing Configurations on page 19.
outputs menu page in the SETUP area.
Storing and Loading Routing Configurations
Access the Routing Storage area by holding down the PROGRAM
key for one second. The LED next to the
PROGRAM key will
begin to blink and the upper right-hand portion of the screen will
read "Routings." Here we find several SOFT KEYS:
list Lists the routing configurations.
# and $ Jumps between decades or the alphabet depending on the status of the Sort by
parameter in the Criteria menu page.
Criteria Determines the behavior of the list . Will routing configurations be presented
numerically or alphabetically? Will you be able to view "factory" configurations?
"User" configurations? Configurations on Memory Cards?
Save Saves routing configurations without overwriting original configuration. You have
the option to rename the configuration.
update Saves routing configurations to User Memory with a single key press.
remove Deletes the selected routing configurations from User Memory or Card.
These
→ See Loading Programs on page 84, Saving a Program on page 86, and Deleting a Program on page 88 for more details.
→ To change the one second hold time," see Miscellaneous Setup Options on page 94.
SOFT KEYS behave exactly as they do in the PROGRAM area.
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The parameters on the following routing and levels menu pages are saved in the Routing Storage area:
SETUP / dsp A used to assign "sources" for DSP A.
SETUP / dsp B used to assign "sources" for DSP B.
SETUP / inputs used to assign "sources" to the "input block."
SETUP / outputs used to assign "sources" to the outputs.
SETUP / for mat used to define digital protocols for AES/EBU and S/P DIF inputs and outputs.
LEVELS / dsp A used to adjust the Wet/Dry mix for DSP A, the output levels for DSP A, and the
input levels for DSP A.
LEVELS / dsp B used to adjust the Wet/Dry mix for DSP B, the output levels for DSP B, and the
input levels for DSP B.
Notice that the analog and digital input levels located on the
and digital output levels located on the LEVELS / output menu page, are not saved in the Routing Storage
area. This is because these are usually set according to the external signal sources and destination, and not
changed according to the preset or routing..
Loading a Routing Remotely Via MIDI
LEVELS / inputs menu page and the analog
To load a routing remotely, make sure MIDI is enabled,
program load is on, and omni mode is off on the midi menu
page in the SETUP area. Routings will load in response to
program change messages on the MIDI channel that corresponds
with base channel + 2.
In the example above, base channel is set to 1. So, if we send
the program change message "12" on MIDI channel 3 (1 + 2),
we would load the routing
programs on DSP A using (
using (
page 84 for more details.
base channel + 1). → See Loading a Program Remotely on
Analog B->A. You can also load
base channel + 0) and on DSP B
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Programs’ Effect on Routing Decisions
As you’ll recall from the Quickstart section, to the right of every
program name in the
the "I/O Identifier." On the screen shown to the right:
• "Q*10 Grafic Eq" has an "I/O Identifier" of "44"
O*5 Grafic Eq" has an "I/O Identifier" of "88"
• "
• "
Gaspodes Dly_2" has an "I/O Identifier" of "32"
Gaspodes Dly_M" has an "I/O Identifier" of "22"
• "
To understand why the "I/O Identifier" is necessary, we must first understand that, although each DSP has
eight inputs and eight outputs, it is not necessarily the case that all of those inputs and outputs will be used
by a given program. As has been stated elsewhere in this manual, each program is a unique algorithm. The
particulars of a given algorithm dictate how many inputs and outputs will be used, just as they dictate what
sorts of parameters are used. For example, a program that acted as a synthesizer would not need any inputs.
A program that turned a mono signal into a pseudo-quad signal would only need one input. A program that
modulated one stereo signal with another stereo signal would only need two outputs.
So, the "I/O Identifier" tells us at a glance how many inputs and outputs a program uses. The first digit
refers to the number of active (live) inputs to the program, and the second digit refers to the number of
active (live) outputs to the program. The way these digits correspond to actual inputs and outputs is as you
would expect:
• 0 x the program has no inputs. It could be an oscillator or sound effects generator.
•
1 x input 1 is live; inputs 2, 3, ..., 8 are dead.
2 x inputs 1 and 2 are live; inputs 3, 4, ..., 8 are dead.
•
and so on!
• x 0 the program has no outputs. Perhaps it's a spectrum analyzer.
x 1 output 1 is live; outputs 2, 3, ..., 8 dead.
•
•
x 2 outputs 1 and 2 are live; outputs 3, 4, ..., 8 are dead.
and so on!
If the I/O Identifier is not visible, this means either that the program has no inputs or outputs (unlikely,
except for a small number of information-only presets) or that the program file does not contain I/O
Identifier information - this will usually only apply to presets obtained from a DSP4000 or other earlier
system.
Be mindful of the "I/O Identifiers" when you select your programs and routing configurations. You won’t
want to make connections to dead inputs or outputs unless you plan not to use those dead inputs or outputs! You
may find yourself frequently ignoring dead inputs or outputs, especially if you load quad or octal routing
configurations but only process stereo signals. As long as you don’t fool yourself into thinking the dead
inputs or outputs are passing audio, everything is OK! Let’s look at a few examples of routing
configurations that rely on connections to dead inputs and outputs and, because of that reliance, fail to do
any business.
PROGRAM area there are two digits called
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For example, the setup shown to the right is bad news. The inputs to DSP
A will never be heard because the program "
DSP inputs 3 and 4! Remember, the first digit in its "I/O Identifier," "
means that only inputs 1 and 2 are live. Inputs 3 through 8 are dead
(they’re shown as dotted circles in the diagram). You won’t hurt the H8000
by hooking things up this way, but you won’t pass audio!
To the right, we have another bad scene. The program "Big Voice" has an
"I/O Identifier" of "
22." That means that only DSP outputs 1 and 2 are
live. Outputs 3 through 8 are dead, but in the block diagram to the right, it
is these dead outputs that are being used. Again, you won’t hurt the H8000
by hooking things up this way, but you won’t pass audio!
Of course, making a connection to a dead input or output is not necessarily a
bad thing. You can make "dead connections" as long as you don’t fool
yourself into thinking that they’re actually passing signals.
For example, you might want to filter a simple stereo
You’ll use digital inputs 1 and 2 and digital outputs 1 and 2.
You don’t care what’s happening on the rest of the digital
inputs and outputs. You load the program "Stereo Filter"
with an "I/O Identifier" of "
load the routing configuration "
22." For convenience, you
AES 8 track A o nly,"
which makes connections as shown above. Connections are
in fact made to the dead inputs 3 through 8 and the dead
outputs 3 through 8, but it doesn’t matter in this case. You
aren’t attempting to pass signals on these "dead connections" ! You’re only using the live inputs 1 and 2 and
the live
outputs 1 and 2. Again, making a "dead connection" isn’t a bad thing as long as you don’t fool
yourself into thinking that it’s actually passing a signal!
VocalVerb 2" doesn’t use
2,"
signal.
The moral? Not all the inputs and outputs on a given DSP are necessarily live. Exactly how many are live
depends on the program that is being run. To prevent signals from becoming "lost," keep the "I/O
Identifier" and its impact on your routing configuration in mind!
Before we leave this section, we should mention that, although we just asked you to always keep the "I/O
Identifier" in mind, you will seldom need to alter a chosen routing configuration to suit a program in practice.
You’ll find that things tend to work out better than the "bad news" examples above might lead you to
believe!
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Controlling Levels
The Level Meters
Now that you’re comfortable routing signals in the H8000, we
can explore the Level Meters. Once you understand the Level
Meters, you can adjust levels along the signal path. There are
eight individual meters to the left of the display. By altering the
Source parameter on the meter menu page in the LEVELS area,
you can change the point in the signal path that the meters measure. Your choices are:
inputs measure the level at the input block (as defined on the inputs menu page in the
SETUP area). In post-fade mode, the meters reflect cuts made on the inputs
menu page in the LEVELS area. In pre-fade mode, the meters do not reflect these
cuts.
machine in measures the level at the inputs to the currently displayed DSP. To measure the level
at the inputs to the DSP not currently displayed, press the
post-fade mode, the meters reflect cuts made on the dsp A or dsp B menu page
in the LEVELS area. In pre-fade mode, the meters do not reflect these cuts.
PROCESSOR A/B key. In
machine out measures the level at the outputs to the currently displayed DSP. To measure the
level at the outputs to the DSP not currently displayed, press the
PROCESSOR A/B
key. In post-fade mode, the meters reflect cuts made on the dsp A or dsp B
menu page in the LEVELS area. In pre-fade mode, the meters do not reflect these
cuts.
outputs measure the level at the AES/EBU outputs. The S/P DIF output level is 1/2 and
the analog output level is 7/8. The ADAT output levels depend on which
AES/EBU outputs were assigned to which ADAT outputs. The levels reflect cuts
made on the
fade distinction when monitoring the outputs).
outputs menu page in the LEVELS area (there is no post-fade/pre-
The order parameter determines the order of signals. Usually you will leave this at 1-4, 5-8. Your other
option is to "flip" the first and last four inputs/outputs on the meters:
5-8, 1-4. This is mainly useful for
viewing an 8-channel signal on an Eve/Net™ remote with 4-channel metering.
The parameter
decay time determines how long the meters take
to go from full "deflection" to zero measuring an impulse. The
parameter
peak hold determines how long the meters hold their
highest reading.
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The Level Meters are useful for two reasons. First, you can use them to verify that your internal gain
structure is in good shape. You generally want to keep levels near, but not touching, the red clip LED. To
achieve this, it’s always better to boost or cut an output. Only if a signal level cannot be optimized by an
output boost/cut should you resort to altering an input level! Second, the Level Meters can be used to
troubleshoot routing problems. If, for example, you hear nothing at the output of the H8000, and you think
your signal path goes from the analog inputs to DSP B to DSP A to the digital outputs, you can use the
Level Meters to check that signal exists at every point along the way. The point in the path at which the
signal "dies" will clue you in to what routing or level parameter has been set incorrectly.
→ Don’t forget about the "I/O Identifier" when troubleshooting. See Programs’ Effect on Routing Decisions on page 45.
Controlling the Level of the Analog and Digital Inputs
Signals come into the H8000 from the outside world via the
input block. Adjust the boost/cut of each of these eight inputs
on the
will often be made in "gangs." However, you can boost/cut any
of the eight inputs independently of the others by pressing the
DOWN CURSOR key. Note: These settings are not saved or loaded with routing configurations in the Rout ing Storage area.
→ See Ganged Parameters on page 15 for more about "gangs."
The "top" menu page (shown above) makes cuts of 0dB to
100dB in the digital domain. Any "analog" cuts made on the
"top" page are after digital conversion. The "bottom" menu page
(shown to the right) makes analog boosts/cuts of +30dB/-90dB
in the analog domain. Except in rare instances, it is usually
preferable to optimize your signal level on the "bottom" menu page, that is, in the analog domain.
To monitor the input levels, go to the
LEVELS area. Change Source to inputs. Select post-fade if
you would like to monitor levels after the aforementioned cuts.
Select pre-fade if you would like to monitor levels before the
aforementioned cuts.
It is possible to overdrive
no clipping on the Level Meters when viewing post-fade! To avoid such a situation, it is advisable that you
boost/cut the signals coming into the H8000 at their source. Doing so also results in a better gain structure!
The moral? Use the boost/cut on the
→ Note: All of the parameters discu ssed in this section can be "remote con tr olled" via MIDI or the foot pedal jacks. To learn how,
read:
Setting Up the External Controllers
External Modulation and Trigger Menu Pages
Remote Controlling Parameters
inputs menu page in the LEVELS area. Such boost/cuts
meter menu page in the
an input to the H8000, decrease that overdriven level at the inputs page, and show
inputs page only as a last resort.
on page 61.
on page 64.
on page 76.
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Input Levels, Wet/Dry Ratios, and Output Levels for Each DSP
You can control the input level for each input of each DSP, the wet to dry ratio of each "channel" of each
DSP, and the output level for each output of each DSP. All of these settings are saved and loaded with a
routing configuration in the Routing Storage area.
→ See Signal Flow Example on page 41.
The input level for each input of DSP A is controlled on one of
the many "stacked"
can cut the input signal from 0 to -100 dB. By pressing the
DOWN CURSOR key to "un-gang" the parameters, cuts can be
made on single inputs independently of the others.
The input level for each input of DSP B is controlled on the
B menu page located "below" the dsp A menu page in the
LEVELS area. Again, you can cut the input signal from 0 to -100
dB. By pressing the
parameters, cuts can be made on single inputs independently of
the others.
To change the wet to dry ratio for each "channel" of DSP A, find
the appropriate menu page in the dsp A menu page "stack" in
the LEVELS area. At 100%, the signal coming out of an output is
completely processed. At
output is identical to the signal applied to the corresponding
input. For example, if you set A OUT2 Wet/Dry to 0%, the signal at DSP A output 2 will be the same as
the signal at DSP A input 2. A setting between
would expect. Pressing the
Wet/Dry ratio of any "channel" independently of the others.
Use of the word "dry" may cause some confusion. Normally, if you set an effects box
of the box
is the same as its input. However, the "Wet/Dry" control on the H8000 is not at the box level,
it’s at the DSP
"inputs block" to DSP B. The program loaded on DSP B is a dense reverb and the
parameters for all eight outputs of DSP B are set to
you connect all eight outputs of DSP B to the inputs of DSP A. That would mean that the signals at the
inputs to DSP A are reverberant. Now, let’s say you set the OUTx Wet/Dry parameters for all eight outputs
of DSP A to
0% (not processed at all). DSP A’s outputs would be identical to its inputs: reverberant - not
the sort of signal we’d normally call "dry" ! The important thing to realize is that the Wet/Dry ratio control
for each DSP is relative to that DSP
The Wet to Dry ratio control for DSP B can be found on the
appropriate
dsp B menu page located "below" the dsp A menu
page in the LEVELS area. To access the dsp B menu page, either
press the dsp A SOFT KEY a few times or press the
PROCESSOR A/B key. The dsp B menu page operates just as
the dsp A menu page does.
dsp A menu pages in the LEVELS area. You
dsp
DOWN CURSOR key to "un-gang" the
0%, the signal coming out of an
0% and 100% mixes the processed and input signals as you
DOWN CURSOR key "un-gang" the parameters and allows you to control the
to "dry," the output
level. To understand the ramifications of this, pretend we’re sending a signal from the
OUTx Wet/Dry
100% (the output is totally processed). Now, let’s say
. It might be better thought of as a "Wet/Bypass" ratio!
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It is worth noting that the Wet/Dry controls do not operate as normal "balance controls." From 100% wet
to 50% wet/dry the wet signal reduces while the dry signal is constant. The opposite applies from 50%
down to 0%. This gives a more useful control function, with no 6dB dip or peak at the center setting.
Finally, we can cut the level of each output of each DSP if we so
desire. This is done on the appropriate
pages in the LEVELS area. The dsp B menu page is located
"below" the dsp A menu page. Output levels can be cut from 0
to -100 dB. By pressing the DOWN CURSOR key to "un-gang"
the parameters, individual output levels can be adjusted independently of the others.
→ Note: All of the parameters discu ssed in this section can be "remote con tr olled" via MIDI or the foot pedal jacks. To learn how,
read:
Setting Up the External Controllers
External Modulation and Trigger Menu Pages
Remote Controlling Parameters
on page 61.
on page 76.
Controlling the Level of the Analog and Digital Outputs
You can control the level of the analog outputs and the digital outputs. These adjustments are made to
match the H8000's output levels to other equipment, and would not normally be used as level controls. You
should leave these levels set at 0dB where possible in order to get the best possible audio performance.
To adjust the level of the outputs from -100dB to 0dB, go to the
output menu page in the LEVELS area. If you’re using the
analog outputs, Out 7 and Out 8 control the level before digital to
analog conversion. Unless you have a good reason for doing
otherwise, leave these at zero!
A better place to adjust the analog output level -90 to 3 dB is on
the "bottom" outputs menu page in the LEVELS area. These
adjustments are made after the digital to analog conversion. Making
your adjustments "post D/A" will generally result in lower noise
and distortion than making them "pre D/A."
→ Note: These param eters can be "remote c on tr olled" via MIDI or the foot pedal jacks. To learn how, read:
Setting Up the External Controllers
External Modulation and Trigger Menu Pages
Remote Controlling Parameters
on page 61.
on page 76.
dsp A or dsp B menu
on page 64.
on page 64.
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DIGITAL SETUP
Digital Setup Overview
Before we look at the H8000’s digital setup in detail, let’s take in the "big picture."
The H8000 sports eight AES/EBU inputs/outputs, two S/P DIF inputs/outputs, and eight ADAT
input/outputs.
• All of the H8000’s analog to digital conversion and digital to analog conversion is 24 bit.
• Only eight inputs can be selected for use.
• Whatever signal is sent to AES/EBU output 1/2 is also sent to S/P DIF output 1/2.
• Whatever signal is sent to AES/EBU output 7/8 is also sent to the analog outputs.
• ADAT outputs "tap"or "mirror" the main AES/EBU outputs - consequently you can’t send a signal to
the ADAT outputs that is not also sent to the AES/EBU outputs.
The H8000 assumes that signals at the digital inputs are 24-bit. No harm occurs if the input is in fact less
than 24-bit; subsequent processing will fill the lower bits.
The system
The internal clock rates supplied by the H8000 include 44.1kHz, 48kHz, 88.2kHz, 96kHz (
44.059kHz are not supplied).
sampling rate is derived from either an internal clock or an external clock.
note that 32kHz and
There is also provision for the use of an optional user supplied crystal to set other
sampling rates.
Unless the sample rate conversion option is ON ("bottom" page under
DIF signal at the digital inputs is synchronized to the system sampling rate.
You must always ensure that ADAT inputs are synchronized to the system sampling rate - there is no sample rate conversion for ADAT inputs.
[clock]
in the SETUP area), you must ensure that any AES/EBU or S/P
The external clock is taken from AES/EBU inputs 1/2, S/P DIF inputs 1/2, or the ADAT input and can
range from ~30kHz to ~50kHz and from ~54kHz to ~99kHz.
[clock]
page under
"master clock."
in the SETUP area), you must ensure that the signal at remaining digital inputs are synchronized to the signal generating the
The digital outputs are at the system sampling rate, and all analog to digital and digital to analog
Unless the sample rate conversion option is ON ("bottom"
conversion is done at the system sampling rate.
S/P DIF
The digital inputs 1/2 are received at either the AES/EBU 1/2
input jack or the S/P DIF 1/2 input jack. To select between the
two, use the
DIN 1/2 parameter on the "bottom" inputs menu
page in the SETUP area.
The digital outputs 1/2 are sent out at both the AES/EBU 1/2
output jack and the S/P DIF 1/2 output jack. To select between
the two formats, use the DOUT 1/2 parameter on the "bottom"
format menu page in the SETUP area. To be clear, signals will be
present at both the AES/EBU 1/2 output and the S/P DIF 1/2 output, but they can only be one format.
S/P DIF selects a "consumer" format while AES/EBU selects a "professional" format. Use the AES/EBU
format unless you have a compelling reason to do otherwise.
Note: The digital inputs 1/2 need not be assigned to the same protocol as the digital outputs 1/2. In other
words, digital inputs 1/2 can be received at the AES/EBU 1/2 input jack and digital outputs 1/2 can be
sent via the S/P DIF protocol. Or vice-versa.
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Sampling Rates
The H8000 can operate over a range of sampling rates, from
32kHz to 100kHz. Because the higher sampling rates demand
more of the signal processing resources, some large presets will
not operate at the higher rates. These are identified by the absence
of the "
9
" symbol.
6
If one (or two) of these large presets is loaded, the H8000 will not
Int 88.2 or Int 96kHz to be selected and will not lock to
allow
any digital source above 50kHz. It may be necessary to unload
both A and B presets before a higher sampling rate can be
selected.
Similarly, if one of these higher clock rates is selected, or the system is locked to a digital source above
50kHz, the H8000 will not allow these larger programs to be loaded.
In effect, the H8000 has two "speeds," a bit like gear ratios on a car. In the normal (lower) speed range, all
presets can run, but only sampling rates between 32kHz and 50kHz may be used. In the higher speed range,
some presets cannot run (those which do not have the "
Quad*16 Grafic Eq and Stereo*32 Grafic Eq in this screenshot), but the whole sampling rate
(e.g.,
9
" symbol beside their name on the program screen
6
range may be used.
Note that because the ADAT protocol does not support the
higher sampling rates, ADAT inputs and outputs are
unusable at 88.2kHz and 96kHz.
Using the Internal Clock
When you use the "internal" clock, the system sampling rate will
correspond with the internal clock’s sampling rate. The system
sampling rate is the sampling rate used for all internal processing.
Unless sample rate conversion is on ("bottom" page under
clock
in the SETUP area), slipping will occur on any digital inputs unless they are externally locked to one of the
H8000's digital outputs. The ADAT input has no sample rate conversion and thus cannot be used with an
internal clock unless the ADAT unit is synchronized to the H8000's AES or Wordclock outputs.
→ See The Status of The Digital I/Os When Using the Internal Clock on page 53.
Selecting the Internal Clock’s Rate
To select the internal clock, set the Source parameter on the clock menu page in the SETUP area to Int
44.1 kHz, Int 48.0 kHz, Int 88.2 kHz, or Int 96.0 kHz:
44.1 kHz The rate of standard compact disks. The "44.1kHz sample rate indicator" is
illuminated. The highest reproducible audio frequency is ~20kHz.
48 kHz The "professional" or "broadcast" rate. The highest reproducible audio frequency is
~22kHz.
88.2 kHz Twice the rate of standard compact disks. This raises the highest possible
reproducible audio frequency to ~40 kHz. The cost of these "20k +" overtones is a
reduction in the size of the programs the H8000 can run. Some programs will be
"unloadable" when
88.2 kHz is selected. Similarly, if one of these programs is
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loaded, you will not be able to select
96 kHz The current "professional rate," commonly used in DVD production. This raises the
highest possible reproducible audio frequency to around 44kHz. Some programs
will be "unloadable" when 96 kHz is selected.
The actual value of the system sampling rate can be read in the
field that reads, "Sample Rate: xxxxx." This will be accurate to
the nearest Hz. Of course, if you select one of the fixed rates
(44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz), the actual rate will be
the same as the rate you select.
→ See Miscellaneous Setup Options on page 94 for other sync options.
The Status of The Digital I/Os When Using the Internal Clock
The sampling rates of the signals at the digital inputs must be
exactly equal to that of the internal clock (unlikely) or sample rate
conversion must be turned on under the "bottom"
clock menu
page in the SETUP area.
The upper right-hand side of the clock menu page in the SETUP area displays the status of the digital
inputs. DIN 1/2 reflects the status of the digital inputs 1/2 (either AES/EBU 1/2 or S/P DIF 1/2
depending on DIN 1/2 on the inputs menu page). DIN 3/4 reflects the status of the digital inputs 3/4 and
so on. Not surprisingly, ADAT reflects the status of the ADAT input.
The status of the digital inputs will be:
88.2 kHz.
slipping signals are present, but their sampling rate is close to but not locked to that of the
internal clock. If sample rate conversion hardware is not on, digital inputs that are
slipping may suffer from clicks or distortion. The greater the difference between
the internal clock’s rate and the digital input’s rate, the greater the distortion. Some
slipping may be acceptable for monitoring or other non critical applications. Of
course, you can always just turn on the sample rate converter for the AES/EBU and
S/P DIF inputs. No sample rate conversion exists for the ADAT inputs.
OK signals are present, and their sampling rate is locked to the internal clock rate. All is
good !
unlocked either no signals are present, their sampling rate is very unstable, or something is
dreadfully wrong with them.
If the words
slipping or unlocked are in parentheses (as shown above for the ADAT inputs), this means
that the respective inputs are not routed (not connected to any inputs and hence unused) and that the
indication can be ignored. The sampling rate at the digital outputs will be the same as the system sampling
rate, and A/D and D/A conversion will be done at the system sampling rate.
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Understanding the "System Sampling Rate and External Sync Indicator" When Using the Internal Clock
The "System Sampling Rate and External Sync Indicator" is the box of five LEDs
immediately to the left of the display. The top four
sampling rate:
• Solidly lit: When one of the top four LEDs is solidly lit, the system sampling rate is
(+/- 0.05%) (the LED corresponding to the system sampling rate will illuminat e).
exact
• Blinking: When one of the top four LEDs is blinking, the system sampling rate is
between one of the fixed rates (
the LED corresponding to the nearest sampling rate will blink).
Of course, if you select one of the fixed rates (44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz),
the LED corresponding to your selection should light solidly.
The bottom LED, EXT, has four possible states:
• Not lit at all: When the bottom LED is not lit at all, none of the digital inputs are routed. This would
happen only if the DSP A and DSP B inputs and the main outputs were either unconnected or only
connected to the analog inputs - no digital signals whatsoever!
LEDs indicate the status of the system
• Solidly lit: When the bottom LED is solidly lit, the sampling rates of all routed digital inputs are locked
to the internal clock rate and all is good. This should be the normal state.
• Blinking regularly: When the bottom LED is blinking regularly,
at least one (and maybe more than one) routed digital input is
unlocked. Use the right-hand side of the
clock menu page in
the SETUP area to see which digital inputs are in fact unlocked.
As before, you can ignore those in parentheses ( ).
• Blinking irregularly: When the bottom LED is blinking irregularly, at least one (and maybe more than
one) routed digital input is "slipping" relative to the internal clock. Use the right-hand side of the clock
menu page in the SETUP area to see which digital inputs are in fact slipping.
Digital inputs that are not
status of the
→ See Signal Flow Inside the H8000 on page 35.
EXT LED.
routed (i.e., are not connected to "inputs block" or AES outputs) will not affect the
Using an External Clock
When you use the "external" clock, the system sampling rate will be that of the external digital signal. The
system sampling rate is the sampling rate used for all internal processing. The external clock’s sampling rate
is derived from digital inputs 1/2, the ADAT input, or the word clock input. Unless sample rate conversion
is on ("bottom"
clock menu page in the SETUP area), you must ensure that AES/EBU inputs 3 through 8,
if used, are synchronized to digital inputs 1/2, the ADAT input, or the word clock input. Since no sample
rate conversion exists for the ADAT inputs, you must ensure that they are synchronized to the source of the
external clock or that the ADAT inputs are the source of the clock.
→ See Miscellaneous Setup Options on page 94 to enable/disable Word Cl ock input.
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Note: If the clock source is "unlocked" (not connected to a valid digital source), the external clock will be
invalid unless you're using the word clock input. If the external clock is invalid, the system sampling rate
will revert to the last valid internal clock rate.
Selecting the External Clock
The external clock is derived from digital inputs 1/2, the ADAT
input, or the word clock input. It cannot
3/4, 5/6 or 7/8.
To set the system sampling rate to the external clock’s rate, set the
Source parameter on the clock menu page in the SETUP area to
AES/EBU 1/2 or S/P DIF 1/2 (which one you can select depends on which you selected under the
The system sampling rate will now be the sampling rate of digital inputs 1/2 or the ADAT input.
Remember that digital inputs 1/2 are "taken" from either the AES/EBU 1/2 input jack or the S/P DIF 1/2 input jack. Use the
parameter
[inputs]
menu page to switch between the two.
Alternatively, you can
misc menu page in the SETUP area.
enable the Word Clock parameter on the
Then you can select WORDCLK as the external clock source on
the clock menu page in the SETUP area.
The rate of the external clock is displayed in the "
screens above, the actual frequency of the external signal is
from ~30kHz to 53kHz and 61kHz to ~99kHz.
→ See Sampling Rates on page 52 for information on speed modes.
be derived from AES
Sample Rate: xxxxx" field. In the example shown two
48001Hz. External sampling rates can range
[inputs]
menu page) or ADAT.
DIN 1/2
The Status of the Digital I/Os When Using the External Clock
The right-hand side of the clock menu page in the SETUP area
displays the status of the digital inputs.
DIN 1/2 reflects the status of the digital inputs 1/2 (either the
IN 1/2
AES/EBU 1/2 input jack or the S/P DIF 1/2 input jack depending on
[inputs
] menu page).
on the
DIN 3/4, DIN 5/6, and DIN 7/8 reflect the status of the remaining AES/EBU inputs. Unless sample rate
conversion is on ("bottom" clock menu page in the SETUP area), you must ensure that these inputs are
synchronized to the external clock source, as shown by the OK indication on the right hand side. ADAT
reflects the status of the ADAT inputs - you must ensure that the ADAT inputs are synchronized to the
external clock source if they are being used. Typically, when using ADAT, your clock source will be either
the ADAT signal itself, or a WORDCLOCK to which the ADAT is also synchronized.
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The status of the digital inputs will be:
slipping DIN 1/2 will read slipping if its sampling frequency changes suddenly or if it is
unstable. For
synchronized with
3/4 will suffer distortion. The greater the discrepancy between the external clock
and the input, the greater the distortion. Slight slipping can be acceptable in noncritical applications, as the occasional clicks it produces are often masked by the
source material. Better, however, to enable sample rate conversion and be rid of it.
OK the input is synchronized to the external clock source and everything is cool.
unlocked no signals are present, the signals’ sampling rate is changing suddenly, the signals’
sampling rate is very unstable, or something is dreadfully wrong with the signals.
The sampling rate at the digital outputs will be the same as the sampling rate of the external clock (which is
the system sampling rate in external ). A/D and D/A conversion will be done at the sampling rate of the
external clock (which is the system sampling rate in external ).
Understanding the "System Sampling Rate And External Sync Indicator" When Using the External Clock
The "System Sampling Rate and External Sync Indicator" is the box of five LEDs
immediately to the left of the display. The top four
sampling rate:
• Solidly lit: When one of the top four LEDs is solidly lit, the system sampling rate is
exact (
+/- 0.05%) (the LED corresponding to the sy st em sampling rate will illuminate ).
• Blinking: When one of the top four LEDs is blinking, the system sampling rate is
between one of the fixed rates (the LED corresponding to the nearest sampling rate will blink ).
Use the "
SETUP area to see the actual sampling rate (e.g., 48001Hz in the
Sample Rate" field on the clock menu page in the
example to the right).
The bottom LED, EXT, has two possible states:
• Solidly lit: When the bottom LED is solidly lit, all of the routed digital inputs are locked and all is right
with the world.
• Blinking regularly: When the bottom LED is blinking regularly, at least one (and maybe more than one)
routed digital input is unlocked (i.e., not synchronized to the external clock). Use the right-hand side of
the clock menu page in the SETUP area to see which digital inputs are in fact unlocked.
→ To check which digital inputs are routed, consult the routing menu pages discussed i n Signal Flow Inside the H8000 on page 35.
DIN 3/4, this means that signals are present, but they are not
DIN 1/2. If sample rate conversion is not on, slipping inputs
LEDs indicate the status of the system
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Sample Rate Conversion (SRC)
In the absence of sample rate conversion (SRC), you need to make sure that any digital inputs are
synchronized to the system sampling rate.
If for whatever reason you cannot synchronize the AES/EBU or
S/P DIF digital inputs to the system sampling rate, use sample
rate conversion (SRC). The sample rate conversion pages are the
two "bottom" menu pages under
turning SRC Mode on for the appropriate digital input, the
H8000 will adjust the input sampling rate to match the system sampling rate. The sample rate before
conversion is displayed in the
SRCs are converting these 44.1kHz inputs to 48kHz.
The sample rate conversion algorithm is of a high quality and its presence is normally undetectable without
the use of expensive test equipment. Nevertheless, the true audiophile will try to synchronize the input
devices to the H8000 without using sample rate conversion in order to achieve the best possible results.
clock in the SETUP area. By
Input SR x/x field. In this example, our internal clock rate is 48kHz. The
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Word Length (Bits)
Input Word Length
As mentioned in the introduction to this section, the H8000 assumes that the signals at the digital inputs are
all 24-bit. Things work out regardless of the actual word length of the input signals because, for example,
the 16 bits in a 16 bit signal correspond to the 16 "most significant" bits in a 24 bit signal. The 8 "least
significant" bits are left "blank," to be filled in by subsequent processing.
If, however, the device sending the H8000 digital signals supports
the protocol, you can see the word length at the inputs to the
H8000. Go to the
fields on the left display the input word length (16 bits, 24 bits,
and two unlocked signals in this case).
If the input bits are unknown as in the case of an S/P DIF input, the field reads, quite logically,
unknown." If a digital input is unlocked (not valid or not connected), the field will read "**."
"
format menu page in the SETUP area. The
Output Word Length
The indicated output word length can be set on the right-hand
side of the format menu page in the SETUP area. Your choices
for output bits are: 16, 20, or 24.
Unless a special "dithering" preset is in use, this setting will not
indicate the actual output word length, but may be useful for
external equipment. S/PDIF outputs do not support this word
length indication.
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BYPASSING AND MUTING
Sometimes you’ll find it necessary to bypass the H8000 using the
BYPASS key. A number of bypassing options exist in the
LEVELS area. There are two "levels" of bypass, system and
machine. System refers to the H8000 as a whole, whereas
machine refers to each DSP.
System Bypass
The three options that exist for system bypass are:
rly bypass "Hardwires" each input to its corresponding output, i.e., analog input 1 is connected
to analog output 1, digital input 3 is connected to digital output 3, etc. This may well
NOT be the same as the current routed configuration. For example, if Analog in 1 is
routed to Digital out 3, this will differ from the connection when bypassed.
Note: Because the 1/4" analog inputs have no corresponding 1/4" analog outputs,
analog inputs that are mated with 1/4" plugs.
dsp bypass Makes each output of each DSP the same as its corresponding input. For example,
rly bypass
effectively mutes those
DSP A’s output 2 will be the same as DSP A’s input 2, DSP B’s output 4 will be the
same as DSP B’s input 4, etc. The routing configuration still applies
setting all the
except that the output levels cannot be changed.
mute Mutes all the outputs.
OUTx Wet/Dry
parameters on the
[dsp A]
and
[dsp B]
menu pages in the LEVELS area to
. This is the same as
0%,
Put the H8000 into
SELECT or by pressing the BYPASS key. Once the H8000 is in system bypass mode, the Bypass Status
LEDs blink, and the
system bypass mode either by placing the cursor over the system field and pressing
bypass A and bypass B fields are no longer available.
To get the H8000 out of system bypass mode, either place the cursor over the system field and press
SELECT or press the BYPASS key.
→See Remote Controlling the Bypass Function on page 75.
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Machine Bypass
The two options that exist for machine bypass are:
dsp bypass Makes each output of the bypassed DSP the same as its corresponding input. The
routing configuration still applies.
menu page in the LEVELS area to
[dsp x]
mute Mutes the outputs of the bypassed DSP. The routing configuration still applies.
Put the H8000 into machine bypass mode by SELECTing either
bypass A field or the bypass B field. The corresponding
the
Bypass Status LED will light when a DSP is bypassed.
To "un"-bypass a DSP, press its
bypass x field again. Its
corresponding Bypass Status LED will grow dark . . .
→See Remote Controlling the Bypass Function on page 75.
This is the same as setting all the
0%,
except that the output levels cannot be changed.
OUTx Wet/Dry
parameters on the
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EXTERNAL CONTROLLERS
External controllers are inputs to the H8000 that allow the modulation of parameters from a source outside
the H8000. These include the foot pedal jacks 1 and 2, the relay jack, and MIDI. In addition to modulating
parameters such as delay times, pitch shift, LFO rate, etc., in programs, the external controllers can be used
to modulate "box" level parameters, such as input levels, Wet/Dry mix, and even screen contrast. (Why you
would want to modulate screen contrast no one knows, but it's nice to know you can!)
→ See:
Setting Up the External Controllers
External Modulation and Trigger Menu Pages
Remote Controlling Parameters
In addition, external controllers can be used to advance through programs.
→ See Loading a Program Remotely on page 84.
Here we will discuss the "global" setup of these external controllers.
on page 61.
on page 64.
on page 76.
Setting Up the External Controllers
Foot Pedals 1 and 2
Each foot pedal jack accepts a stereo ("tip-ring-sleeve") 1/4"
connector (see diagram below). Between the ring and sleeve is a
fixed 5 volts provided by the H8000. The foot pedal that is
hooked up to the jack and returned between the tip and the sleeve
alters that voltage. The
pedals menu page in the SETUP area
allows you to calibrate the foot pedal jacks for the particular foot pedals you are using. The "top" menu
page calibrates jack 1, and the "bottom" menu page calibrates jack 2 (just press the
pedals SOFT KEY to toggle between the two). 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, highlight the
the cursor and press the
SELECT key. Rock your foot pedal
Calibrate parameter with
through its full range of motion, from full minimum ("heel") to
full maximum ("toe"), and then press any key. The heel and toe
parameters will jump to reflect their new, calibrated values. 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.
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MIDI Setup
In the H8000, MIDI can be used:
• with programs that explicitly call for MIDI signals. For example, some programs in the H8000 act like
synthesizers that a MIDI keyboard can play.
• with programs that explicitly call for some sort of "external" controller. For example, the program
External Detu ne" calls for an external signal to adjust the amount of detune that is applied to an
"
audio signal. You can direct a MIDI controller to do the adjusting.
• to remote control any parameter in the H8000 (including input and output levels).
• to change programs via MIDI program change messages.
→ See Loading a Program Via a MIDI Program Change Message on page 84.
• to advance to the next program or select the previous program.
→ See Triggering the Next or Previous Program to Load on page 85.
• to synchronise the H8000's tempo generator to an external source by using MIDIclock.
→ See System Tempo on page 89.
• to synchronize external equipment to the H8000's tempo.
There are several MIDI "global" parameters that bear on how all
of the above uses of MIDI function. These parameters are found
on the
the SETUP key a few times to find it). The midi menu page is
"stacked"; the "top" menu page is shown to the right. Let’s look at each parameter in turn, shall we?
midi menu page in the SETUP area (you may have to press
MIDI If set to disabled, all received MIDI commands are ignored. However, MIDI
output messages, including parameter changes, program load, bank change, and the
various dump commands, are still enabled. Set this parameter to enabled if you
want to receive MIDI messages.
serial Enables or disables the serial port. If set to enabled, MIDI commands can be
received at or sent from the serial port.
→ See Setting Up the Serial Port on page 95.
program load This determines whether the H8000 will accept and obey MIDI program change
messages and allows you to select the number of the Usergroup to be used as a
MIDI map.
→ See Loading a Program Via a MIDI Program Change Message on page 84.
sequence out If set to old or new, then every time a parameter is changed or a program is loaded,
a corresponding message is sent out the MIDI port as a system exclusive message.
By recording parameter changes to a MIDI sequencer, you can automate your mixdowns. Simply play back the recorded MIDI sequence at the H8000’s MIDI input,
and you will see the changes you recorded "played" by the sequencer (assuming
enabled
and
system exclus iv e
is
on
). However, if you manage to configure the MIDI
MIDI
is
connections between your various pieces of equipment such that the "system
exclusive, sequence out" MIDI messages of the H8000 loop back into the H8000
without delay, digital demons will unleash a raging fury inside your helpless unit. So,
make sure that doesn’t happen! If you aren’t actively using the
feature, it’s wise to leave it
→ See Sequencing With MIDI on page 98.
off.
sequence out
If you're recording a fresh sequence out, use new. Your H8000 will send
messages in a more robust ASCII format than the
old protocol. Select old if the
H8000 will be responding to a sequence recorded in the old protocol.
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system excl usive If set to on, then any system exclusive message that is received by the H8000 will be
accepted and dutifully obeyed. If set to
be ignored. This switch does not prevent the H8000 from sending system exclusive
messages, however.
on and
out
exclusive
mean dance in the H8000!
system exclusive off
on while playing the sequence back. This eliminates the possibility of those digital demons dancing their
You can use this pa r ameter in conjunction with
while recording a sequence, and
off, then all system exclusive messages will
sequence out
sequence out off
by leaving
and
system
sequence
device ID
All system exclusive messages to and from this the H8000 will have this device ID.
If you’re using more than one H8000, you can set each one’s device ID to a different
value. This would let them share a common MIDI chain, while allowing system
exclusive messages to be sent to a specific H8000. Normally, the device ID is left at
1, the factory default. You can control one H8000 from another by matching their
device IDs.
Press the
midi SOFT KEY again to reveal the "second" menu
page.
MIDI This is just the same as the MIDI parameter found on the "top" menu page. It’s
duplicated here for your comfort and convenience.
base channel Selects one of 16 MIDI channels to be the base channel from which MIDI channel
numbers will be calculated elsewhere in the H8000.
omni mode If this is on, then a MIDI message on any channel is accepted and dutifully obeyed
by every MIDI message recipient in the H8000. This keeps things simple in simple
setups. If this is off, then every MIDI recipient in the H8000 specifies which MIDI
channel (offset from the
note mode The H8000 allows selection of mono and poly mode. Poly means one channel has
all the notes (keyboards).
base channel) it will accept messages on.
Mono means each channel plays only one note, but you
have multiple channels (MIDI guitars, wind controllers).
pressure If this 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 aftertouch message on a given channel affects only the note with which
it is associated.
pitch bend When using a MIDI keyboard to play a synthesizer program in the H8000, this
parameter controls how many semitones a maximum MIDI pitch bend message
shifts the original pitch.
sysex speed The lower the value of this parameter, the slower the H8000 will transmit MIDI
messages. This can be useful if the device being sent to is "unhappy" with faster
rates.
midiclk out Will make the H8000 output a MIDI clock signal that represents its internal tempo
(SETUP/tempo). This is a high accuracy signal to which other equipment can
synchronize.
That’s it for MIDI globals. If you press the
midi SOFT KEY one more time, you’ll see parameters
pertaining to the serial port’s setup.
→ See Setting Up the Serial Port on page 95.
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External Modulation and Trigger Menu Pages
Many aspects of the H8000’s operation can be controlled by "external" signals. These "external" signals
include MIDI signals and signals at the rear panel foot pedal jacks 1 and 2 (
set these controllers up
). External "modulation" involves altering a parameter value over a range of values. For
example, you could modulate a delay from 5 milliseconds to 25 milliseconds. At different points in time, the
delay will be 5 milliseconds, 25 milliseconds, and all of the values in-between. An external "trigger
hand, has only two states. It is not continuous. For example, you could trigger a gate to open. The gate can
be either open or closed. A trigger switches the parameter from one state to the other.
The various external modulation and trigger menu pages you will encounter are all variations on a common
theme. Although the length of this section might lead you to think otherwise, all you’re really doing on
these menu pages is selecting the external controller that will modulate or trigger a parameter. If the
external controller you select involves MIDI, then you will also have to deal with MIDI channels and
(possibly) MIDI control numbers. This adds length to our discussion, but it shouldn’t add complexity.
In the case of external modulation menu pages, we’re doing one more thing: we’re scaling the external
controller to suit the range of modulation we would like. Again, the concept is simple, but we’ll have to get
a little wordy in the process of describing it. Apologies . . .
For the sake of providing an example, we’re going to externally
modulate the
Modules
knob parameter found in the program Interface
. To load it, set the parameters on the Criteria menu
page in the SETUP area as shown here.
Then use the left and right
CURSOR keys to skip through the
programs by their first letter to the programs that begin with "i".
Then use the up and down
Interface Mod ules and press the SELECT key.
CURSOR keys to find the program
This program was designed for folks who are interested in
creating their own programs (see the separate programming
manual). As such,
knob doesn’t do anything useful, but it will
serve us well for the purposes of this demonstration.
With the cursor highlighting
knob on the inputs menu page in
the LEVELS area, press and hold the SELECT key until the
external modulation menu page shown to the right appears. The
SELECT key trick" is how you "remote control" any parameter
"
in the H8000 and is discussed in depth on page 76. For now, we
have a convenient method for getting you to an external modulation menu page. You will also find
"explicit" external modulation menu pages in the
SELECT to see them!) .
→ See Remote Controlling Parameters on page 76 if you’re really curious.
PARAMETER area (ones that don’t require you to press
see External Controllers on page 61 to
," on the other
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"Manually" Selecting an External Controller for Modulation
The first parameter, mode, selects the actual external controller
that will do the modulating. Our choices are as follows (some are
discussed in the section immediately following this one):
off No external modulation at all.
high This isn’t really a modulator (it doesn’t evolve through time). It pins the parameter at
its highest modulation value.
mid This pins the parameter at its middle modulation value.
low This pins the parameter at its lowest modulation value.
assign 1, 2, ..., 8, Trig 1&2
These are "placeholders" that are assigned to actual external modulators on the
external menu page in the SETUP area. Until you understand the concept of
"redirection" discussed below don’t pay any attention to these.
→ You can read about redirection in The Concept Behind "Redirection" - External Assigns 1-8 and Trigs
on page 72.
1 & 2
pedal 1 & 2 The input from the pedals at the rear panel foot pedal jacks 1 and 2. These jacks are
setup on the pedals menu page in the SETUP area.
→ See Foot Pedals 1 and 2 on page 61 to "set them up."
tip 1 & 2, ring 1 & 2, and tip & ring 1 & 2
When a pedal input is used as a switch input, it can operate in one of two modes,
supporting either 2 switches or 3 switches. If any controller references "tip&ring" for
a given socket, that socket will be in "3 switch" mode, otherwise it will be in "2
switch" mode.
In "2 switch" mode:
• "tip" is high when a switch connected between tip and sleeve is closed.
• "ring" is high when a switch connected between ring and sleeve is closed.
To give an added control input, a third switch may be connected so as to connect
both tip and ring to sleeve. This will require a 2 pole switch or a few diodes.
Alternatively, the same results may be obtained by pressing the first two switches
simultaneously to simulate the third switch. (See drawing on page 68.)
In "3 switch" mode:
• "tip" is high when a switch connected between tip and sleeve is closed and
the third switch is open.
• "ring" is high when a switch connected between ring and sleeve is closed and
the third switch is open.
• "tip&ring" is high when the third switch is closed.
mod wheel MIDI control message 1 - typically assigned to the mod wheel on a MIDI keyboard.
chan pressure MIDI channel pressure message.
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pitch wheel MIDI pitch bend message.
breath con MIDI control message 2 - typically assigned to the breath controller on a MIDI
keyboard.
foot con MIDI control message 4 - typically assigned to the foot controller on a MIDI
keyboard.
portamento MIDI control message 5 - typically assigned to portamento.
volume MIDI control message 7 - typically assigned to volume changes.
balance MIDI control message 8 - typically assigned to balance.
pan MIDI control message 10 - typically assigned to panning.
expression MIDI control message 11 - typically assigned to the expression controller on a MIDI
keyboard.
general 1, 2, 3, and 4
MIDI control messages 16, 17, 18, and 19.
MIDI double Allows selection of any MIDI control
number with very fine quantization.
Input range is 0 to 16383. A third
parameter appears,
controller number to be used.
pass the "coarse" va lue for the modulation and the MIDI control number
modulation.
con, which selects the
Your choices for
con
are 0 to 31. The MIDI control number
con
+ 32 will pass the "fine" value for the
con
will
MIDI single Allows selection of any MIDI control
number with coarse quantization. Input
range is 0 to 127. A third parameter
appears,
con, which selects the controller
number to be used.
note on MIDI keyboard note number. Middle C on an 88 note keyboard gives a value of
"60."
note switch Turns on when the specified midi note is received.
MIDI program Triggers when a MIDI program change message is received.
MIDI Clock 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 message is channel-independent.
MIDI start Triggers when a MIDI start command is received. This MIDI command is channel-
independent.
MIDI stop Triggers when a MIDI stop command is received. This MIDI command is channel-
independent.
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"Manually" Selecting the External Controller for Triggers
External trigger menu pages are less common than external
modulation menu pages. A good example of one is the
nextprog menu page in the SETUP area (you may have to press
the SETUP key several times to find it). As on external
modulation menu pages,
that will do the triggering. Our options are:
off No triggering at all.
trig 1 & 2 These are "placeholders" that are assigned to actual external controllers on the
mode selects the external controller
external menu page in the SETUP area. Until you understand the concept of
"redirection" discussed below, don’t pay any attention to these.
→ You can read about redirection in The Concept Behind "Redirection" - External Assigns 1-8 and Trigs
on page 72.
1 & 2
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tip 1 & 2, ring 1 & 2, and tip & ring 1 & 2
When a pedal input is used as a switch input, it can operate in one of two modes,
supporting either 2 switches or 3 switches. If any controller references "tip&ring" for
a given socket, that socket will be in "3 switch" mode, otherwise it will be in "2
switch" mode.
In "2 switch" mode:
• "tip" is high when a switch connected between tip and sleeve is closed.
• "ring" is high when a switch connected between ring and sleeve is closed.
To give an added control input, a third switch may be connected so
as to connect both tip and ring to sleeve. This will require a 2 pole
switch. (Refer to Drawing). The drawing represents the
connections that need to be made with the wires that are connected
to the tip, ring, and sleeve. Alternatively, the same results may be
obtained by pressing the 2 switches simultaneously to simulate the
third switch.
In "3 switch" mode:
• "tip" is high when a switch connected between tip and sleeve
is closed and the third switch is open. If you're using two switches, "tip" is high when the switch between tip and sleeve is
closed but the switch between ring and sleeve is open.
• "ring" is high when a switch connected between ring and sleeve is closed and the third switch is open. If you're using two
switches, "ring" is high when the switch between ring and sleeve is closed but the switch between tip and sleeve is open.
• "tip&ring" is high when the third switch is closed. If you're using two switches, "tip&ring" is high when the switch
between tip and sleeve is closed and the switch between ring and sleeve is closed.
tip ring sleeve
damper 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.
soft Triggers when a soft control message (MIDI control message 67) is received with
soft = 1.
hold 2 Triggers when a "hold 2" control message (MIDI control message 69) is received
with "hold 2" = 1.
general 5, 6, 7, and 8
Triggers when a general 5, 6, 7, or 8 MIDI control message is received with value =
1.
note on Triggers when a MIDI note message is received.
MIDI program Triggers when a MIDI program change message is received.
mod 1, 2, 3, and 4 Triggers when the mod 1, 2, 3, or 4 parameter passes 50%.
MIDI single Allows selection of any single byte MIDI
control number. When a control value of
50% of full range is received, a trigger will
occur. The trigger is reset when a value of
less than 50% is received. A third parameter appears,
con, which selects the
controller number to be used.
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MIDI double Allows selection of any double byte MIDI
control number. When a control value of
50% of full range is received, a trigger will
occur. The trigger is reset when a value of
less than 50% is received. A third
parameter appears,
MIDI start Triggers when a MIDI start command is received. This MIDI command is channel-
independent.
MIDI stop Triggers when a MIDI stop command is received. This MIDI command is channel-
independent.
Parameters Common to Both External Modulation and External Trigger Menu Pages.
For all of the above MIDI messages, except for those involving
"MIDI clock," if
SETUP area, then the MIDI message will be accepted on any
omni is set to on on the midi menu page in the
channel. Although you can highlight the
here, you cannot change it from omni. You must go to the midi
menu page in the SETUP area to change it.
con, which selects the controller number to be used.
External Controller Selection
channel parameter
omni is set to off on the midi menu page in the SETUP area,
If
then the second parameter on the screen, channel, selects which
MIDI channel the MIDI message will be accepted on (relative to
the
base channel found on the midi menu page in the SETUP
area). If the value of base + x is greater than 16, the result
"wraps" around. For example, if
base channel were set to 10, and channel were set to base + 12, the
actual MIDI channel used would be
10 + 12 = 22
22 - 16 = 6
SIX
!
It’s worth noting that MIDI commands are often sent on a MIDI connection only if the command being sent differs from the last command sent.
Between the occasional command messages are data messages. A data message pertains to the last sent command message. These are known as
MIDI
"Running Status." You could send a MIDI command message to the H8000 with the
disabled
set to
will be accepted. Try sending a different MIDI command to get things started, or try cycling power on your MIDI source.
. If you then change the
MIDI
parameter to
enabled,
you must re-send the MIDI command messa ge b efore the MIDI data messages
parameter on the
[midi]
menu page in the SETUP area
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"Automatically" Sel ec tin g a MIDI Exter na l Contro ller
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 H8000 and uses it as the external controller.
This works on both external modulation and external trigger menu pages.
On the upper right-hand side of the screen, you will find a
function called
pressing the
mode parameter reads "CAPTURE."
The
The next type of MIDI message received by the H8000 will be used for the mode parameter, and the MIDI
channel that it is received on will be used for the
channel parameter will remain omni regardless of what channel the message is received on. To exit
the
"Capture" mode without " capturing," just press the
For example, if on the screen above (set to "Capture" mode) we
send a pitch bend message, the screen to the right results. The
mode is set to pitch wheel.
At this point, we have discussed all of the parameters that are relevant to selecting an external controller for
modulation and triggering. If the external controller you would like to use doesn’t involve MIDI, simply
select it with the
have a choice. You can explicitly enter it with the
you’ve chosen
Capture Midi feature, sending the MIDI signal you would like to modulate or trigger with from your MIDI
source and letting the H8000 figure out the
Note: To aid in troubleshooting, you can use the BUSY LED as a "MIDI chaser." With the Memory Card removed, any MIDI signals sent to the
H8000 at the MIDI In port cause the
flashing when you do (and the Memory Card is
Capture Midi. Highlighting this parameter and
SELECT key puts the H8000 in "Capture" mode.
channel parameter. Of course, if you are in omni mode,
SELECT key again.
mode parameter. If the external controller you would like to use does involve MIDI, you
mode parameter, selecting the proper channel and, if
MIDI double or MIDI single, selecting the con number. Alternatively, you can use the
mode, channel, and con.
BUSY LED to flash. If you’re trying to send MIDI messages to the H8000, but the BUSY LED isn’t
removed), you know something is wrong with the connections outside the H8000!
Scaling the External Controller
The remaining parameters on the external modulation menu page pertain to scaling the selected external
controller to suit the range of modulation desired.
The horizontal bar graph on the bottom of the left-hand side of
the screen displays the current value of the controller you selected
mode on a scale of approximately 1 to 100. Use this bar graph
in
to visually confirm that the external controller you have selected
is actually "finding its way" to this menu page. If you manipulate your external controller and this bar graph
doesn’t change, something is wrong! To see how this works, if you select "
mode: pitch whe el," jiggle the
pitch wheel on your keyboard and then leave it alone, you will see the screen shown above. The bar graph
reads 50.00, halfway between full minimum and full maximum.
If you pull the pitch wheel all the way down, you’ll get the screen
to the right. The bar graph reads
0.00, full minimum. Similarly, if
you crank the pitch wheel all the way up, the bar graph reads full
maximum.
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The next parameter we come to is
actually doing is modulating a parameter, but that is what you’re doing. And parameters come in all shapes and
sizes (like people). For example, you must be able to modulate a delay time from 5 milliseconds to 25
milliseconds with a full rock of the foot pedal just as you must be able to modulate a pitch shift from 0 cents
to minus 4800 cents with a full rock of the foot pedal. The
With range set to +200, the external controller’s range corresponds to the full range of the parameter’s
values
various settings of
(different types of parameters will have different "full ranges"), which in this case is from -100 to +100. However, with
range, the parameter being modulated (knob in this case), and the external controller
doing the modulation, it is possible to "pin" the parameter being modulated at its minimum or maximum
values. That’s what’s going on in the example to the right.
range. After all this discussion you may have forgotten that what you’re
range parameter allows us to do just that.
With the pitch wheel all the way down, the value of
knob is 100.
With the pitch wheel all the way up, the value of
knob is 100!
That’s no good.
Adjust the value of the parameter being modulated to remedy
this situation (see further examples below). In this case you’re going to
manually change the value of
idle (at
50%).
knob to 0 while the pitch wheel is
Because you did this and because
range is set to +200, the
parameter now "behaves."
See how it behaves? Oh, behave! Behave!
Note: It is also possible to set
modulated to decrease while the external controller is increasing.
range to a negative value. Doing so allows the value of the parameter being
The
range describes how the parameter will respond to the
external controller. Smaller values result in small changes; larger
values result in larger changes. When type is set to absolute
and the external controller is all the way down, the parameter will
take on its minimum value, 0 % in this case.
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When type is set to absolute and the external controller is all
the way up, the parameter will take on a value determined by
range, 66 % in this case.
When
the way down, the parameter will take any value you select. Here
you selected
When
the way up, the parameter will take on a value determined by the
origin and the range. Here 10% plus 66% = 76 %.
When
halfway up (or halfway down if you're a pessimist).
The final parameter on the external modulation menu page is just a duplicate of the parameter you’re
modulating. Its value reflects the applied external modulation, so you can see the result of all your futzing
as you futz
the parameter while you futz as we did in the example above.
be shown on the external modulation menu page because there isn’t enough room to fit them all!
In practice, scaling is even more flexible than we've described here. It's one of those things that's much
easier to do than to describe!
type is set to unipolar and the external controller is all
10 %. Let's call this the origin.
type is set to unipolar and the external controller is all
type is set to bipolar, the parameter takes on the value of the origin when the external controller is
(the external modulation’s value will be ADDED to the parameter’s value). Additionally, you can adjust the value of
If you modulate a gang of four or more parameters, they will not
The Concept Behind "Redirection" - External Assigns 1-8 and Trigs 1 & 2
"Redirection" allows a program developer to use an external controller in his program, while allowing one to
assign which actual external controller is used at a later time. An external controller "placeholder" is used in
the program, and you fill in a specific external controller for that "placeholder." Redirection also allows you
to select a "placeholder" on an external modulation or trigger menu page. If you select the same
"placeholder" on several external modulation or trigger menu pages, you can change the actual external
controller that fills that "placeholder" by making one change. If redirection didn’t exist, you would need to
go to each and every one of those external modulation or trigger menu pages and change the actual external
controller manually
. Wow ! That’s pretty abstract. If it doesn’t make sense yet, read through this section and then re-read this paragraph.
There are eight external assignment "placeholders": assign 1, assign 2, ..., assign 8.
There are two external trigger "placeholders": trig 1 and trig 2.
These "placeholders" are selected as the
mode on external
modulation or trigger menu pages littered throughout the H8000.
For example, assign 3 can be assigned here. . .
And here. . .
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And here. . .
And anywhere. . . You see that a single "placeholder" can modulate or trigger many different parameters.
A single "placeholder" is "filled" by an actual external controller at
one place: the external menu page in the SETUP area. A single
"placeholder" is "filled" by only one actual external controller. In
the example screen shown to the right, the actual external
controller mod wheel has been selected to "fill" the "placeholder" assign 3.
Now all of the "and here. . ." example screens shown above would actually be modulated by the mod wheel
Moreover, the value in parentheses above,
(mod wheel).
to
(low), would change
external menu page is "stacked." Press the external SOFT
The
KEY repeatedly to cycle through menu pages for assign 1, assign 2,
assign 3, ..., assign 8, trig 1, and trig 2. These menu pages behave
just like those that were discussed in
Menu Pages
on page 64, except that there is no range parameter.
External Modulation and Trigger
This makes sense because a single "placeholder" can be selected
to externally control a multitude of parameters. "Scaling" is done on
the external modulation or trigger menu pages littered throughout
the H8000 that have as their
mode the "placeholder."
So, "redirection" allows you to configure your external modulation and trigger menu pages to suit the
particulars of your studio/rack setup. Let’s say you frequently use a foot pedal, the pitch wheel, the mod
wheel, and MIDI controller 10 (pan) to do external modulations and MIDI Note On and MIDI Start to do
external triggers. Instead of explicitly assigning all of these external controllers on external modulation and
trigger menu pages in the programs that you save, you could instead assign assign 1, assign 2, assign 3, ..., assign
8, trig 1, and trig 2. Then go to the
external menu page in the SETUP area and assign the foot pedal to
assign 1, the pitch wheel to assign 2, the mod wheel to assign 3, MIDI controller 10 to assign 4, MIDI note on
to trig 1, and MIDI start to trig 2.
Here are the benefits
: If you take the H8000 on the road or to another studio and need to use different
external controllers, you don’t have to re-edit all of the programs you use. Instead, just reassign the
"placeholders." If you get a new sequencer that has different "convenient" controllers than the ones you’ve
been using, you don’t have to re-edit all of the programs you use. Instead. . . All right. You get the idea.
We should run through an example to make sure you’re clear about what’s going on here. While you're
going to use placeholders to modulate system-level parameters, you would normally use them to modulate
parameters in programs such as feedback, chorus level, pitch shift, etc.
!
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Let’s highlight the first digital input on the inputs menu page in
the LEVELS area (in this case the first digital input is S/P DIF in
). Remember to press the DOWN CURSOR key to "un-gang"
1
parameters.
→ See Ganged Parameters on page 15 for more about "gangs."
Press and hold
the SELECT key for one second. The menu page
to the right appears.
→ To change the "one second hold time," see Miscellaneous Setup Options on
page 94.
Set the mode to assign 3. Press the *done* SOFT KEY to save
the assignment and return to the inputs menu page in the
LEVELS area.
Next, let’s highlight
A OUT4 Wet/Dry on the dsp A menu page
in the LEVELS area. Remember to press the DOWN CURSOR key
to "un-gang" parameters.
Press and hold the
S
L
E
S
L
E
S
key for one second. Set the mode
T
C
E
T
C
E
T
C
E
L
E
to assign 3. Press the *done* SOFT KEY to exit.
→ To change the "one second hold time," see Miscellaneous Setup Options on
page 94.
At this point, we’ve assigned the "placeholder" mo d 3 to modulate both
Wet/Dry
. Now, let’s "fill in" this "placeholder" with an actual external controller.
S/P DIF in 1 and A OUT4
Go to the
external SOFT KEY repeatedly until you see "assign 3 setup"
external menu page in the SETUP area. Press the
in the upper right-hand corner.
You can set mode to anything you like; we’re going to set it to
pitch wheel on channel omni (the
page in the
SETUP area needs to be set to
off
omni
parameter on the
in order to assign a specific channel ).
[midi]
menu
Now, when you move the pitch wheel both S/P DIF in 1 and A
OUT4 Wet/Dry
(Select the MIDI
are modulated!
base channel
on the [midi] menu page in the SETUP area.)
If you actually followed along with your H8000, you’d be wise to go back to these two parameters and set
mode to off, so that your input levels and wet/dry ratios don’t start doing freaky things in response to the
pitch wheel in the future!
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The very first time you switch on the H8000, you will find that assigns 1-8 are set to
any programs which use one of these as a volume control input are not silenced. It is recommended, for the
same reason, that, if you change these settings and then want to remove the change, you set them back to
high, rather than to off.
high - this is so that
Remote Controlling the Bypass Functions
It is often necessary to be able to remote control the system bypass
function. For this reason a special controller has been set up for this
purpose. It can be found under SETUP/external. Press this key a
few times until you come to it.
Another way to remote control system bypass, which also applies to
machine A and machine B bypass, is to use the SELECT and hold
approach on the
LEVELS/bypass page, treating it as if it were any
other parameter.
→ See Remote Controlling Parameters on page 76.
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Remote Controlling Parameters
Parameters can be remote controlled via MIDI or the rear panel
foot pedal jacks. To remote control a parameter, first highlight it
with the cursor. Here we’ve highlighted the parameter mix.
With the cursor in place, press and hold
the SELECT key until the
screen changes to the "remote control" menu page. After
pressing and holding the SELECT key on the parameter mix
above, we arrive at the external modulation menu page shown to
the right.
This is the same menu page we discussed interminably in External Modulation and Trigger Menu Pages on
page 64. We won’t rehash it here.
→ To change the "hold time," see Miscellaneous Setup Options on page 94.
After making an assignment, you can exit this screen by pressing
*done* SOFT KEY. You may notice that the H8000 flashes
the
"Control will be lost if preset is not saved" if the
parameter you are remote controlling belongs to a program (as
opposed to a "global" parameter such as an input level). This means that you must <save> or <update>
the program to ensure that your remote control will still be there the next time you load the program. Of
course, if you don’t care if the remote control is there the next time you load the program, then don’t worry
about it!
→See Saving a Program on page 86.
Assuming that the
mix will be underlined. This indicates that it is remote controlled.
mode on the above menu page was set to something other than off when you exited,
The underline blinks to add an element of fun and excitement to the H8000’s display and to cheer you up
when you’re feeling glum. You can return to the remote control menu page by highlighting delay and
holding the
SELECT key again. If you change the mode to off on the "remote control" menu page, delay
will no longer be underlined and nothing will blink. How sad.
Remote Controlling Triggers
As we mentioned before, some soft keys are known as triggers
because pressing them causes an action to happen, as opposed to
displaying a menu page. An example of this is shown in the
program
Simple Sampler . <record>, <play>, and stop are all
triggers.
To remote one of the triggers, press and hold the soft key for
about a second. This will then bring up the remote control screen
described above, allowing you to choose how you want to
control it. The flashing underbar indicates that this key is
remotely controlled. If you change the mode to off on the
"remote control" menu page, the underline will, of course, go
away.
→ To change the "one second hold time," see Miscellaneous Setup Options on page 94.
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MIDI Groups
The use of "MIDI groups" allows an alternative way to control the H8000 from MIDI, with the minimum
of setting up. A MIDI group is a numbered sequence of MIDI controllers, for example, 70,71,72 .. 77.
When the H8000 has been told to respond to this group, these controllers will correspond to the parameters
on the H8000's screen. This allows a multi-controller such as the Peavey PC1600 to control the H8000 with
very little configuration required.
For example, referring to the parameter screen at the right, the MIDI group from 70-77 would give you the
following results:
70:
71:
72:
73:
74:
75:
76:
77:
Each parameter would be controlled over its full range - for example, in this preset
value of 10 (Hz) and a maximum value of 1000 (Hz). This means that the minimum MIDI value (0) would
give you 10 (Hz) and the maximum MIDI value (127) would give you 1000 (Hz).
In this example, using a MIDI single controller, the resolution will be limited to the 128 steps offered by
MIDI, meaning that the minimum change possible is (1000-10)/128 or about 8Hz. MIDI double controllers
(numbered 0 to 31) will give better resolution.
If you then changed to a different screen, say
LEVELS area, the following would apply:
70: A OUT1 Wet/Dry
71:
72:
73:
74:
75:
76:
77:
The MIDI group will continue to control whichever screen is displayed. This looks useful - how do we set
up such a MIDI group ? All will become clear ….
predelay
decay time
room size
diffusion
hi decay
hi freq
lo decay
lo freq
lo freq has a minimum
DSP A in the
A OUT2 Wet/Dry
A OUT3 Wet/Dry
A OUT4 Wet/Dry
A OUT5 Wet/Dry
A OUT6 Wet/Dry
A OUT7 Wet/Dry
A OUT8 Wet/Dry
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Configuring the MIDI Group
The last key in the SETUP/MIDI "stack" controls the MIDI group. This operates just like any of the
H8000's other controller screens, with some added features:
The parameters on this screen cannot be controlled by way of the
MIDI group. There's a reason for this …
• The controller number con is the first controller number in
the group. This is most usefully set up by MIDI capture.
→ See page 63
for more on MIDI capture.
• The group size is the number of controllers in the group. For example, in the screen at the right, the
group is from 70 to 77. This is a useful location for the group, as these controllers are unassigned by the
MIDI specification and not generally used.
• The active con displays the number from 1 to gr o up siz e of any member in the group that changes.
This is useful as a way of checking that the group is set up correctly and is acting on received MIDI
signals. It will display
0 as shown above if no group member has changed since power-up.
• If operation is normal, the external controller will directly control the parameters on the current
screen. This sounds right, but can cause problems when moving from screen to screen. For example,
suppose you are using a fader-based controller like the Peavey 1600, and you push the fader all the way
up to control, say, a vibrato depth. Then you switch to another screen where the same fader controls the
master output level. The minute you touch the fader, the level will go way up, and the floor will be
covered with bits of loudspeaker. This can be prevented by setting
operation to sticky.
• If operation is sticky, each member in the group can only be changed by moving the controller
through its current position. The value will then stick and respond to further movements of the
controller. Looking at the top right of the screen, you will see
a small thermometer. The arrow shows the direction to move
the controller to pass through the current value, while the
vertical bar is the position of the current value. Once the
current value has been reached the thermometer will
disappear and you will have full control.
PROGRAM LOAD, SAVE, DELETE, ETC.
"...the H8000 is like a jungle gym for sine waves..."
-Anonymous
Programs are the "algorithms" used by the DSPs to process signals. Programs are stored in the H8000
much like files are stored on your computer’s hard drive. Instead of using a hard drive, however, the H8000
uses RAM memory, either internally or on a card. The load times are much faster and the unit is more
durable and quieter than it would be were a hard drive to be used.
When you want to use one of the H8000’s programs, you "load" it. When using both DSPs, there are two
programs that are "loaded"
want to, you can run the same program on both DSPs. There will be two "instances" of that program running, and the parameter values set for one will
not affect those of the other.)
"large sampler programs" and some "long delay" programs - these can o nly be loaded on DSP A)
All of the "non-monolithic" programs in memory are available to either DSP (except for
(or "running") on the H8000: one on DSP A and the other on DSP B. (Of course, if you
.
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"Monolithic" programs use the resources of both DSPs. As such, only one monolithic program can run at a
time, and it uses the routing configuration of DSP A.
You can save a program that is running in two ways:
The first is to use
The second way to save a program is to <update> it - this performs a "one-click" write to User
(internal) Memory.
Of course, you can delete a program from memory if you wish
came with the H8000)
.
The H8000 comes with over one thousand factory programs, on top of any that you may save to User
Memory or Memory Card. Many hundreds - and each one is unique! To help make finding a useful program
for a given situation easy, each program is categorized in several different ways. These categories form a
powerful "database" which is one of the key features of the H8000. We discuss the different ways to quickly
locate the right effect for your application below and recommend that you make an effort to understand this
section fully - the time taken will be well spent.
Categorized by Effects Type
Although each program is unique, all
contain. This is useful in that it allows you to compare programs with similar capabilities:
• Samplers (S)
• Pitch shifters (
• Reverbs (
• Delays (
D)
• Modulations (
• Complex (
P)
R)
M)
C)
• Equalizers and Filters (
• dYnamics (
Y)
Programs can and usually do contain more than just one of these
effects types. The letters to the right of the names above are the
shorthand notation as shown on the
PROGRAM area. Here, Kick/SnareReplacer is a complex (C)
preset that uses samplers (
dYnamics (
Y). Kill The Guy only uses modulations (M) and equalizers/filters (E).
When you save your own programs or your own tweaks of
factory programs, you can assign effects "flags" yourself on the
effects menu page in the PROGRAM area. Here the Pitch and
Delay flags are on - a "P" and "D" will appear next to this
program’s name on the list menu page.
Save - you won’t overwrite the old version of the program.
(you will quickly find out that you cannot d elete the presets that
Categorizing Programs
programs can be categorized broadly by the types of effects that they
E)
list menu page in the
S), delays (D), equalizers (E), and
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Categorized by Intended Source
Many (but not all) of the H8000’s programs have been categorized by what source material they were
designed for. This is in addition to their effects type! The list of sources is:
• Guitar
• Vocals
• Drums
• Keyboard
• Special Effects
• Surround
Unlike categorization by effects type, there is no way to see categorization by intended source on the list
menu page in the PROGRAM area. However, as we will see shortly, categorization by source becomes very
handy once you start searching for programs.
When you save your own programs or your own tweaks of
factory programs, you can assign source "flags" yourself on the
sources menu page in the PROGRAM area. Here the Vocals and
Special FX flags are on.
Categorized by Similar Programs (Banks)
All of the H8000’s programs are categorized by placing them in
groups of similar programs, which we’ll call "banks." You may
have noticed that most programs have a four-digit number
associated with them. The first two numbers define the bank that
a program belongs to. Here
66. One Way Phaser belongs to bank 36. Onirica Ritmica belongs to bank 13.
If you move the cursor on this menu page, the upper right-hand
corner will briefly display the bank name for the highlighted
program. Here
Racks
. The banks provide a loose grouping for related programs,
One Time Rhyno belongs to bank 66 - Virtual
with a name indicating their nature of function.
Here One Way Phaser belongs to bank 36 - Phasers. You
will note in passing that if all of the programs were placed in
numerical order, they would effectively be sorted by banks! This
fact will prove handy once you start searching for programs.
You can see a list of the H8000’s banks by loading the "program"
H8000 Banks. In the PARAMETER area is a list of all the
H8000’s banks with their associated numbers for you to scroll
through.
One Time Rhyno belongs to bank
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Categorized by You (User Groups)
This is extremely handy! You can use the usergrp menu page in the PROGRAM area to assign programs to
any of ten "user groups" in User Memory and another ten on the Memory Card. Maybe you want to
"group" all the programs associated with a certain project for ease of access later on. Maybe you want to
keep track of programs you really like.
First use the KNOB on the top line to select the group you want to
change.
Then, to find a place to put it, use the KNOB on the third line
(Prog Chng). If you want to use this Usergroup as a MIDI Map,
this number is the MIDI Program change number, otherwise, think
of it as a “slot number”. To find an unused “slot”, keep going until
the Preset in the second line shows <none> or <empty>.
→ See Loading a Program Via a MIDI Program Change Message on page 85.
Now, go to the second line and use the wheel or the keypad to find
the program that you want to add to the Usergroup. Here we’ve
included the program 4_ReverseTetra in Group7.
This line shows the programs according to the Search and Sort
options on the Criteria page. The wheel or keypad can be used to move through them in the same way as
on the list screen.
A tip - it's easier to find things by name using the knob if you have previously set
Sort By to Name
on the
Criteria
page.
Note that Usergroup 1 is a Factory group, with a selection of the more interesting programs in the H8000.
This group cannot be changed. The names of presets included in it can be found in the H8000 Presets
Manual.
Categorized by Recent Use
We will go into more detail in the next section, but the H8000
keeps track of what programs you’ve recently loaded. You can
find this list (and reload those programs from it) by setting
Search By to User Grp on the Criteria menu page in the
PROGRAM area. Then go to list and use the < - - and - - > SOFT KEYS to find the Most recent list -
this is the first list in this section section - think of it as Usergroup 0. If you mostly work with the same
programs, this saves you having to find them every time.
Searching for and Loading Programs
Before reading this section, please be sure to have read and fully understood the preceding section,
"Categorizing Programs" on page 79. This section and its predecessor are worthy of study, as they make
finding the right program for your work much quicker and easier. You would probably like that ..
The
Criteria menu page in the PROGRAM area lets you search
for programs based on their effects type, intended source, bank,
and several other criteria. Let’s dissect each of these parameters in
turn. Note that the programs displayable (and thus loadable) at
any time are the result of the combination of the setting of these controls. Also, any program, whether
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visible under the current settings or not, may be displayed by entering its number on the keyboard.
Sort By determines how the results of a search are displayed on
the list menu page. Number sorts programs by their four-digit
number. As was discussed in the previous section, this effectively
groups similar programs into "banks." All four of these programs
begin with the two digits 30, which is the "Multi-effects" bank!
Use the left and right CURSOR keys to jump from bank to bank (e.g., from program 30xx to program 31xx
to program 32xx and so on).
You can also type a number in with the KEYPAD - you will jump to the program whose number comes
closest to the one you typed. Tip - when you use the keypad, if you enter the exact number, you can select
programs that are not otherwise visible.
Sort By Name sorts programs alphabetically. This is a handy
way to find a program if you know its name. Use the left and
CURSOR keys to skip through programs alphabetically (e.g.,
right
from programs that begin with
to programs that begin with F and so on).
Sort By Effects sorts programs based on their fundamental
effects types. As shown here, all of these programs use pitch
shifters (P), delays (D), and modulators (M). If you were to use
the KNOB to scroll up or down, you would find other groupings.
Use the left and right CURSOR keys to skip from grouping to grouping (e.g. from programs that use PDM
to programs that use RDM to programs that use PRDM and so on).
D to programs that begin with E
The second parameter, Search By, causes the < - - and - - >
trigger SOFT KEYS to perform searches using different criteria.
The default value, All, doesn’t perform any search at all. Every
program in the H8000 is listed on the list menu page in the order
defined by Sort By.
Search By Source causes the < - - and - - > trigger SOFT
KEYS to cycle through programs that were created for specific
source material (guitar, vocals, drums, etc.). In this example, the
upper right-hand corner of the screen indicates that a "search"
turned up
63 programs that were designed for use with Vocals.
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Search By Effect causes the < - - and - - > trigger SOFT KEYS
to cycle through programs that contain each of the different
effects types (samplers, reverbs, delays, etc.). In this example, all
708 programs that the "search" turned up use a Delay (D)
algorithm. Pressing the
programs that use a Modulation (M) algorithm.
Search By Src+FX causes the < - - trigger SOFT KEY to cycle
through programs based on their intended source. Given an
intended source (e.g., guitar), the - - > trigger SOFT KEY cycles
through effects types. Here you see 40 programs that were
designed for vocals (Vcl) (selected by the < - - SOFT KEY) that
contain delay (Dly) algorithms (selected by the - - > SOFT KEY).
Search By User Grp causes only programs that have been
assigned to a selected "user group" to be shown. The < - - and
- - > SOFT KEYS flip between user groups 1 through 10 and the
most recently used program list. Here we see the 4 programs that
have been assigned to Group7.
- - > trigger SOFT KEY would display
The H8000 has internal memory for Factory programs (those
that came with the unit) and User programs (those that you have
tweaked and saved or created afresh). It can also save programs
on Memory Cards. Use the third parameter, Location, to filter
which programs are shown on the list menu page based on where they are saved (the default value, All,
shows all programs are shown regardless of where they are saved).
The fourth and fifth parameters, Inputs and Outputs, filter
which programs are shown on the list menu page based on how
many inputs or outputs they use. Your choices are any (any
number of i/o’s), stereo (2 or 3 i/o’s), quad&2+2 (4 or 5 i/o’s),
5.1 (6 or 7 i/o’s), and octal (8 i/o’s). This allows you to only
display programs suitable for your application, i.e. if you are working in 5.1 you may not want to be
bothered with
Show determines if only those programs that are loadable will be shown on the list menu page or if any
stereo effects, and vice-versa.
program will be shown. If you are using higher sampling rates
(e.g., 96kHz), some programs are unloadable. Assuming you’re
using a higher sampling rate, with Show set to any, these
programs have lines through them. To avoid this unpleasantness,
leave
Show set to loadable. In the same way, some programs may only be loaded on DSP A, and may not
be loaded if DSP B is selected.
Similarly, some programs come in two versions: a monolithic version for 88/96k operation, and a single
machine version for 44/48k operation. Normally only the relevant one of these is visible, but if Show is set
any, both of these can be seen, as shown by 'Static' Flanger in the screen above.
to
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Finally, Machines determines if only programs that run on a
single DSP will be shown (A & B), only those that are
"monolithic" will be shown (II A only), or if both sorts of
programs will be shown (any) on the list menu page.
A & B is useful if you know that you want a dual machine configuration and don't wish to be bothered by
monolithic programs. Similarly, if you want to only see the most powerful programs, set it to
Loading Programs
Programs are loaded by first selecting a program to load in the PROGRAM area. You select a program to
load by sorting through the available programs (see the preceding section). Use the up and down CURSOR
keys or the
KNOB to highlight the program you want to load on the list menu page.
It’s important to note that the program will be loaded into the currently displayed
DSP as indicated by the upper left-hand corner of the display.
If you want to load a "non-monolithic" program into the DSP not currently displayed, you need to press
the
PROCESSOR A/B key. If the H8000 is currently running a monolithic program (no "A:" or "B:" in the
upper left corner), a "non-monolithic" program will load into DSP A and the "Thru'" program will be
loaded into DSP B.
Some larger programs, those not marked with a "96," will be
unavailable for loading when the system is using a high sampling
rate. Programs using the (large) Sampler and Longdelay modules
cannot be loaded on DSP B. If Show is set to any on the
Criteria menu page in the PROGRAM area, these "unloadable"
programs will be displayed with a line through them on the list menu page. To avoid seeing these programs
when they can’t be loaded, set Show to the default setting loadable.
The last few programs that were loaded are also saved in the
Most recent" group. This means that you can quickly revisit
"
the programs that you are currently using, without having to look
through all the programs to find them again. You can find this list
(and reload those programs from it) by setting Search By to
User Grp on the Criteria menu page in the PROGRAM area. Then go to list and use the < - - and - - >
SOFT KEYS to find the Most recent list - it corresponds to the first group.
II A only.
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Loading a Program Remotely
There are two ways to load programs remotely. The first is via a MIDI program change message, and the
second is by triggering the H8000 to load the next or previous program in the current bank. Let’s discuss
them in turn, shall we?
Loading a Program Via a MIDI Program Change Message
The normal way to load a program remotely is by means of a MIDI Program Change message. A MIDI
Program Change message can be sent by a MIDI keyboard, a MIDI sequencer, or a MIDI foot pedal.
Using a MIDI foot pedal on stage makes loading programs a breeze.
Unfortunately, MIDI Program Change only supports programs numbered from 0 to 127. Since the H8000
has well over a thousand programs, each with a three- or four-digit number, this presents a small problem.
The way one gets around this limitation is by using a "MIDI map" to translate between program numbers
with MIDI Program Change numbers.
The H8000 uses its Usergroups as MIDI maps. Each program in a
Usergroup can have a Program Change number associated with it,
so that if this number is sent by a MIDI controller , that program
will be loaded. If a program exists in both 48kHz and 96kHz
versions, the one most appropriate to the current sample rate
setting will be chosen.
→ See Categorized by You (User Groups) on page 81.
This is extremely handy! You can use the usergrp menu page in the PROGRAM area to assign programs to
any of ten "user groups" in User Memory and another ten on the Memory Card. Maybe you want to
"group" all the programs associated with a certain project for ease of access later on. Maybe you want to
keep track of programs you really like.
First use the KNOB to select the group you want to change on the
top line.
Then, to find an empty place to put it, use the KNOB on the third
line (Prog Chng) until the Preset in the second line shows <none>
or <empty>.
Then, on the second line, choose the program you want to include
in the group. Here we’ve included the program 4_ReverseTetra in
Group7. You’ll see that you can usefully organize programs via user
groups! To remove a program from the Usergroup, either turn the
wheel at the second line to select another one, or type
0 ENT on the numeric keypad to set it to <empty>.
The second line of this screen shows the programs according to the Search and Sort options on the
Criteria page. The wheel or keypad can be used to move through them in the same way as on the list
screen. A tip - it's easier to find things by name using the knob if you have previously set Sort By to Name
on the Criteria page.
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Note that Usergroup 1 is a Factory group, with a selection of the more interesting programs in the H8000.
This group cannot be changed. The presets included in it can be found in the H8000 Presets Manual.
The third line, Prog Chng allows you to assign a MIDI Program Change value (0-127) to each program in a
Usergroup. This allows Usergroups to be used as MIDI maps, enabling their members to be loaded via
MIDI program change messages. If you are not using the Usergroup as a MIDI map, think of this as a
"slot" number.
The bottom line of this screen also appears on the SETUP/MIDI
screen (shown below) and tells you which group is the current
active MIDI map. If the selected group (Group 7 in the example
shown above) is the active one, it will show (MIDI map).
In order for the MIDI map feature to be operational, the parameter
MIDI on the first midi menu page in the SETUP area must be set to
enabled, and the parameter MIDI map on that menu page must be
set to the number of the Usergroup that you wish to use as the
MIDI map. The default setting is that of the
group 1.
If no MIDI map is selected (none), the program loaded by a MIDI
program change message will be in the same bank as the one
currently selected on the visible DSP. For example, the PROGRAM
screen to the right shows that program 1410 is currently selected for
DSP A. This means that the current bank is 14, covering programs
from 1400 to 1499. If a MIDI program change message of 32 is
received, the H8000 will load program 1432 into DSP A.
If the parameter omni mode is set to on, the program will be loaded
into the current DSP.
Alternatively, if omni mode is off, a MIDI Program Change
message sent using the
base channel will cause the program to
be loaded in DSP A, while a MIDI Program Change message sent
using the channel one greater than the base channel will cause
the program to be loaded in DSP B. The system will be switched to A or B as appropriate, just as if the
PROCESSOR A/B button were pressed. The normal rules of course apply, so that if you try to load a
"monolithic" program, it will always load into DSP A.
All of these parameters are found on the "second"
Factory Usergroup,
midi/ext menu page in the SETUP area.
Note: To aid in troubleshooting, you can use the BUSY LED as a "MIDI chaser." With the Memory Card removed, any MIDI signals sent to the
H8000at the MIDI In port cause the
LED isn’t flashing when you do (and the Memory Card is
BUSY LED to flash. If you’re trying to send MIDI Program Change messages to the H8000, but the BUSY
removed!), you know something is wrong with the connections outside the H8000!
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Triggering the Next or Previous Program to Load
The H8000 can also advance to the next program displayed on
the list menu page in the PROGRAM area (relative to the one
that is currently loaded), or return to the previous program
(relative to the one that is currently loaded) upon receipt of a
"trigger" signal. This will act upon the currently displayed DSP,
or both DSPs in the case of a monolithic program. This feature is mainly useful for live performances where
it is desired to move quickly from one known effect to another in sequence.
On the nextprog menu page in the SETUP area, you’ll find an external trigger menu page. The "top"
menu page selects a trigger to load the next program, and the "bottom" menu page selects a trigger to load
the previous program (press the nextprog SOFT KEY to toggle between the two).
→ See External Modulation and Trigger Menu Pages on page 64.
The best way to use this feature is to load the programs through which you’d like to advance beforehand.
Use
Save to save each one with a successively higher number. Then place each of them in a single "user
group" by using the user grp menu page in the PROGRAM area while each program is loaded. On the
Criteria menu page in the PROGRAM area, set Sort By to Number and set Search By to User Grp.
Then use the < - - and - - > SOFT KEYS on the list menu page to select the group to which you assigned
your programs. Manually load the first one. From there on out, you can use the trigger!
The "next" or "previous" program is constrained to what is displayed on the list menu page. If the
currently loaded program is the "highest" program in the list, a "next" program trigger will load the lowest
program in the bank. Similarly, if the currently loaded program is the "lowest" program in the list, a
"previous" program trigger will load the highest program in the bank.
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Saving a Program
If you’ve tweaked a program or created your own program, you’ll probably want to store it for future use. If
you’ve tweaked a program and don’t want to overwrite the original version, you should use the Save SOFT
KEY in the PROGRAM area. Similarly, if you’ve created your own program, there is no original version, and
again you should use the Save SOFT KEY in the PROGRAM area. The asterisk '*' after the program name
reminds you that something has changed and you might want to save.
→ If you do want to overwrite the original version of a saved program, use the <update> SOFT KEY discussed below.
The program you are saving is the one running on the currently
displayed DSP. If you would like to save the program running on the DSP not currently
displayed, press the
KEY results in the screen shown on the right.
The first line allows you to select which "slot" the program will be saved in. If you select an "occupied" slot,
the H8000 will ask if you want to overwrite that program when you place the CURSOR over save and press
SELECT. If you select yes, the overwritten program is gone! The second line allows you to save to Internal
memory or Card memory. Placing the CURSOR over rename and pressing SELECT allows you to rename
the program (as described on page 16). Place the cursor over the save line and press the SELECT key to go
ahead with the save. If you chicken out, simply leave this menu page without SELECTing save.
On the right-hand side of the screen you can see both how large the current program is, and how much
space is available at the location selected by where.
DSP A/B key before pressing
<save>
. Pressing the Save SOFT
Once you have saved the program, it will appear on the list menu
page with a "U" (for User) or "C" (for Card) at the right- hand side
of the screen to help you distinguish your saved programs from
factory programs. Here Robot Voice is a "user program."
Copying Programs
To copy a program, simply load it and then use Save to save it where you would like the program copied
to. You can copy a program from one place in internal memory to another, from one place on a Memory
Card to another, from internal memory to a Memory Card, or from a Memory Card to internal memory.
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The "Size" of a Program and Its Ramifications for Storage
Finite things overrun the world we inhabit. There is a limit to the space available in the H8000 for the storage
of programs. Not everything is perfect. Roughly 460 kilobytes of space is available for storing your programs
internally. A program typically requires between 1 kilobyte and 20 kilobytes of space for storage. In the worst
case that means you can store 30 programs in internal memory. A more realistic number might be 100. If
that’s not enough for you, don’t despair! You can save programs on Memory Cards that can contain as much
as 256,000 kilobytes of space! And if you fill up one Memory Card, you can always get another.
→ See Memory Cards on page 32.
Updating a Program
Like Save, when you press the <update> SOFT KEY, you are updating the program running on the
currently displayed DSP. If you want to update the program running on the DSP not currently displayed, press the DSP A/B key.
Updating saves any new parameter tweaks that you’ve made to a
user program. Press the
the same number exists in User Memory, a confirmation page
comes up.
This feature is particularly useful if you want to "tweak" a factory
program - just one key press will save your tweak with the same
name and number, and it will always be displayed together with the
factory program. This is possible because the H8000 allows up to
three programs for each number - one factory, one user, and one on a card. Strictly speaking, you can have
four, as both monolithic and non-monolithic versions of Factory programs may have the same number.
<update> SOFT KEY. If a program with
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Renaming a Program
To rename a program, simply load it and then press the Save
SOFT KEY in the PROGRAM area. Place the CURSOR over the
rename field and press SELECT. Change the name and select the
Enter button to exit the typewriter. Here you changed "yobot
" to "new Voice."
Voice
Back at the Save menu page, make sure the old program name is present in the correct "slot" - 269 in this
case. Since that’s where the same program is with the old name, you’re going to overwrite it!
Place the CURSOR over save and press SELECT. The H8000
asks if what you’re about to do is ok... select
Now the program has the new name, new Voice.
Yes.
Deleting a Program
Because there is a finite amount of storage space in the H8000 or on a given Memory Card, you may want
to delete some of your stored programs to free up "room" from time to time. To delete a program, go to
the
PROGRAM area and place the cursor over the program you would like to delete. The program you wish
to delete does not need to be loaded on either DSP.
On the screen to the right, if you were to press the <remove>
SOFT KEY, you would be deleting the program "Robot Voice."
(It doesn’t matter that it’s not currently loaded!)
Actually pressing the
<remove> SOFT KEY would result in the
screen to the right. To remove or not to remove?
Factory presets are distinguished from your saved presets by the lack of a "
screen. You can’t delete any of the factory presets. That’s why
program is highlighted on the
list menu page.
<remove> is scratched out when a factory
U" at the right-hand side of the
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PARAMETERS
"I can’t tell you what a parameter is, but I’ll know it when I see it."
-US Supreme Court
The PARAMETER area is special in that the menus change to reflect the options available in the currently
running program (on the currently displayed DSP*). The number of menu pages and their content vary
from program to program. Consequently, very little can be said about parameters generally. But that’s not
much of a liability; parameters are easy to understand as you encounter them.
For the sake of your sanity, it’s important to remember that the
parameters you are messing with in the PARAMETER area belong
to the program running on the currently displayed DSP*. For
example, on the screen to the right you’re messing with parameters
for the program "
Continuing our example, pressing the
the display to DSP A. Now you’re messing with parameters for the
program "Dinosaur Leg s" that is running on DSP A.
Many, but not all, of the programs in the H8000 support an "expert
mode" feature. The
feature is found on the misc menu page in the SETUP area (you
may have to press the SETUP key a few times to find it). A setting
0 hides all but the most relevant menu pages in the PARAMETER
of
area. Conversely, a setting of
between
0 and 9 reveal a proportionate amount of menu pages in the PARAMETER area.
Leave expert mod e at 9 if you like lots of parameters to tinker with, at 0 if you find lots of parameters
annoying, or somewhere in-between if your tastes fall somewhere in-between.
While most parameter types are self-explanatory, there are a few special types that deserve specific mention.
4_ReverseTetra" that is running on DSP B.
PROCESSOR A/B key toggles
expert mode parameter controlling this
9 reveals all of the available menu pages in the PARAMETER area. Settings
System Tempo
Most programs that have "frequency" or "time" parameters (e.g., LFOs, reverb decays, and delays) will
synchronize to the system tempo. This greatly simplifies the task of customizing a program to a particular
song. Simply set the system tempo to tempo of the song you're working on and BAM! Everything falls in
place!
The system tempo is defined on the tempo menu page in the
SETUP area. In the simplest case, set Source to Internal and
manually enter the appropriate
the
<tap> soft key to the beat and the H8000 will calculate the
*
If the upper left-hand corner of the screen reads “A,” the “currently displayed DSP” is DSP A. If the upper left-hand corner of
the screen reads “B,” the “currently displayed DSP” is DSP B. Both DSPs are always running, but only the parameters for one of
them can be displayed at a time.
Tempo. Alternatively, you can tap
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tempo for you. Change the number of taps used in this calculation with the Average parameter.
You can derive the system tempo from several other sources using the Source parameter:
• Tip 1&2 The voltage at the tip of pedal inputs 1 or 2 defines the system tempo.
• Midiclock A MIDIclock signal sent from a sequencer to the H8000's MIDI input defines the system
tempo.
• ext1-8 The value of external modulators 1 through 8 defines the system tempo.
→ See The Concept Behind "Redirection" - External Assigns 1-8 and Trigs 1 & 2 on page 72 for information
regarding the external modulators.
Parameters in the
PARAMETER area that synchronize to the
system tempo are denoted by "
t_length."
"
Notice that changing
corresponding
t_length (or any t_ parameter) changes the
length parameter to reflect the interaction
between the musical duration (
system tempo (78 BPM in this case).
You can also override the
parameter (
length in this case). However, if the system tempo is
t_ parameter by adjusting the "naked"
changed, the "naked" parameter will revert back to its calculated value!
If you want to make the "naked" parameter impervious to changes
in the system tempo, turn the
t_" before their name, such as
1/8 note in this case) and the
t_ parameter to off.
• → See midiclk out on page 63 to see how to synchronize other
equipmen t to this tempo setti ng.
Much like the system tempo, the system timer provides a
common reference point for measure-based parameters such as
loop times (note that the system timer is used in far fewer
programs than the system tempo). Set the system timer using the
timer soft key in the SETUP area.
Let's say you want to use loops in a song with measures that are 2 seconds long (MeasureTime =
BeatsPerMeasure multiplied by 60 divided by BPM). Using this nifty formula or some prior knowledge, you
can simply set the Time parameter to 2.00 se c. Alternatively, with Source set to soft key and Mode set
restart, you can tap the <run> softkey at the beginning and end of a measure and the H8000 will
to
calculate the time for you.
Now load up a loop program such as "Reich Loops 2." The loop
time is automatically set to the system timer (notice the lower left
corner!) You can use the
many bars the timer will equal. Not all loops are set up to work
with the system timer - only those that explicitly show the system timer value.
System Timer
timer equals parameter to define how
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Notice also that all of the programs that use the timer can be "overridden" by simply entering a new loop
time value.
...Back to the
Source to tip 1 or tip 2, you can use a foot pedal in place of the
soft key to calculate the length of a measure. Tap the foot pedal
at the beginning of the measure and again at the end of a
measure. By setting
fashion.
→ See The Concept Behind "Redirection" - External Assigns 1-8 and Trigs 1 & 2" on page 72 for informa tion regarding the ex te rnal
modulato r s. See Foot Pedals 1 and 2 on page 61 for more information rega rding the foot pedals.
By setting Mode to continue, successive "taps" of the Source
(be it the soft key, a foot pedal, or whatever) will simply extend
the current system timer without resetting it to zero.
Several programs use a tapped delay line. For a particular "tap,"
UP and DOWN CURSOR keys select among three parameters:
the
timer menu page in the SETUP area. By setting
Source to ext1, ext2, ..., ext8, you can use any of the external modulators in a similar
Taps
• dly adjusts the delay position of a particular tap (the
number of milliseconds before the tap)
• lvl adjusts the level of a particular tap
pan adjusts the stereo pan position of a particular tap
•
Use the
The graphic to the right of the parameters represents the delay position and level of every tap in the bunch.
All right, maybe a "textblock" isn’t really a parameter, but you’ll find
it hiding among parameters, so we might as well discuss it here.
You’ll typically find these creatures on an
PARAMETER area. As the name suggests, this is just a block of text
that you can read for your own enlightenment. If all of the text fits
on the screen, that’s the end of the story. If, however, all of the
text doesn’t fit on the screen, you’ll see a double-headed arrow to the
left of the text.
Turning the
LEFT and RIGHT CURSOR keys to select the particular tap for which you’re adjusting parameters.
Textblocks
info menu page in the
KNOB scrolls the text so you can read the rest.
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Graphics and Curves
Several programs use an interface reminiscent of an analog graphic
equalizer. Two parameters are used: an x value and a y value. The
x value is the horizontal position of the currently selected graphical
point, and the y value is the vertical position of the currently
selected graphical point. In our example to the right, the x value is
12500 Hz, and the y value is 12.6 dB. With the cursor in the y field (as shown above), the LEFT and
RIGHT CURSOR keys change the x value, while the KNOB and NUMERIC KEYPAD change the y value. With
the cursor in the x field, the
change the x value. Use the
parameters on the screen.
For example, pressing the
above screen would change the x value and result in the screen to
the right.
Spinning the
KNOB on the above screen would change the y value
and result in the screen to the right.
Pressing the
DOWN CURSOR key on the screen above would
move the cursor from the graphic interface to the
parameter.
"Curve" modules behave just like "graphics," but their function is a little different.
Here we have loaded the program "Band Distort" from the
"Inst - Distortion" bank. On the curves menu page in the
PARAMETER area, we find two "curves." Think of the audio
signal being processed by this program as ranging in amplitude
from -1 to 1. The "curve" sets up an arbitrary relationship between the input amplitude and the output
amplitude. The x value is the input amplitude, and the y value is the corresponding output amplitude. In
the example above, an input amplitude of
input amplitude slightly different from the output amplitude, you can obtain a subtle distortion.
We could get a little wackier. How about making an input
amplitude of
0.667 result in an output amplitude of -0.5? No
sweat. By making the input amplitude radically different from the
output amplitude, you can obtain a "garbage compactor"
distortion.
LEFT and RIGHT CURSOR keys, the KNOB, and the NUMERIC KEYPAD all
UP and DOWN CURSOR keys to move between the graphic interface and other
LEFT CURSOR key several times on the
Mast
-1.0 results in an output amplitude of -0.480. By making the
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