Eventide Harmonizer H910 Instruction Manual
Eventide
the next step
MODEL
HARMONIZED
H9IO
INSTRUCTION
EVENTIDE INC * ONE ALSAN WAY - LITTLE FERRY. NEW JERSEY 07643 *201 -64M200
MANUAL
710 991^6715
J
TABLE OF CONTENTS
Warranty
Warranty
Registration
Table of Contents
OPERATING MANUAL
Introduction
Specifications
System Interconnection
Control
and Indicator
Applications
Pseudo Stereo
Haas Effect
Hum Reduction
Vocal and Instrument
Delayed
Sound Reinforcement
Reverb e r a tion
Pitch/Tempo
Retuning
Length Change
Multiple
Live Performance
Use of Feedback
Pitch
Ratio Readouts
HK940 Keyboard
Interconnection
up to three
Form
Description
Source Location
Echo Feed
Variation
Tracks
Ratio Adjustments
Use
for Musical
for Eventide
of
Harmonizers
keyboard
"Doubling
Harmonizer
11
Relationships
and
10
10
10
11
11
H
H
11
11
12
13
14
15
TECHNICAL
INFORMATION
fHARMONIZER* is a trademark
-
SEE SEPARATE SECTION
EVENTIDE HARMONIZER model H910
ALL PATENT RIGHTS RESERVED
of
Eventide
Cloekteorks
Ijict,
Eventide
s^sofafeooss
INPUT CHARACTERISTICS
OUTPUT CHARACTERISTICS
DISTORTION
DYNAMIC RANGE
PITCH VARIATION
DELAY
FREQUENCY RESPONSE
SIZE
MODEL H910 HARMONIZEft®
Impedance nominal IOk, balanced,
for full dynamic range from -lOdBm to +24dBm.
Impedance nominal
greater
Greater than 90dB from clipping to noise floor.
One octave up, one octave down, continuously
readout indicates
In pitch change mode: 0, 30, 60 milliseconds.
In delay only mode: 0 to 112.5ms in 7.5ms steps.
Delay only output:
At any delay, unity pitch ratio: 20Hz to 12kHz, +idB.
No degradation
Requires 8.89 centimetres
Extends 22.86cm (9M) behind panel.
at
+18dBm.
than .2% at 1kHz, reference
0 to
with increasing
maximum level +24dBm Level
150 ohms. Suitable
With xfmr, 600 ohms balanced +2ZdBm.
precise ratio.
02.5ms in 7,5ms steps.
(3V') x 48,26cm (19”) panel space.
delay.
for driving 600 ohms
output level»
variable,
or
Digital
POWER REQUIREMENTS
REMOTE CONTROL
NOTE; Depending on the pitch ratio selected
the H910 may produce "glitches
H910 has been designed
pitch changes.
specify
Eventide's
to
For critical
H949 Harmonizer.
115VAC, 50/60HZ +5% or 230VAC 5G/60Hz.
pation 25 watts.
The HK94Q keyboard is available
This is a two-octave
sponds to its associated
one can play various
is ordered with polyphonic
used to control
four part harmony.
An input is provided to phase-lock
synthesizer.
The pitch may be varied by a control voltage input in the
5 to 15 volt DC range (internally
14 in the output during the pitch change operation.
minimize this problem, especially
applications
up to
A
Nominal power dissi¬
to
control
keyboard (C to C) and each key corre¬
musical interval.
harmonies in real time.
capability
three H9l(Ts at a time to produce
the H91D Harmonizer to any
3-volt peak-to-peak
and the nature of the program material,
requiring
the maximum in "no-glitch"
signal Is required.
selected).
with musically
the H910 Harmonizer.
With this unit,
(option 06), it may be
If the keyboard
The
useful small
operation
Eventide
m
°
d
el
h»io
the n
n?D™^D, fUSi° MRH0NIZER SPECIAL EFFECTS UNIT — THE H910 HARMONIZER IS
audioEf
FEATURES OF THE H910 HARMONIZER
fects processingEC
TIVE‘
harmonher
AND MULTIPURP0SE
PACKAGE
that revolutionized5
E VENTlOE
c LOCk! Uucun k
NdiMiie
PITCH CHANGE -- One octave up, one down. The H910 preserves all harmonic
ratios and thus all musical values since it incorporates
which actually
by the continuously
is shown on the 3-digit LED readout.
change to be produced in discrete musical steps.
DELAY AND REVERB -- The economical H910 Is a versatile
It can be used for "doubling" vocals, delay equalization
ment, and for many special effects,
echo. Two outputs are available,
for vocal multiplying,
PA work), and even more effects.
ANTI-FEEDBACK — Feedback caused by energy buildup due to room resonance is
decreased by shifting successive repetitions
resonant frequency.
the signal pitch up and down to accomplish this.
shifters,"
SPECIAL EFFECTS -- Simultaneous use of feedback, delay, and pitch change can be
used to create a variety of audio effects.
pitch change combined with feedback generates a musical progression
note.
Pitch change and feedback with no delay gives an unusual robot or alien
speech effect.
flanging or tunneling effect;
transposes input signals.
variable pitch change control.
distributing
The H91Q incorporates
no
dissonances are introduced.
Short delay with feedback but no pitch change gives a hollow
Any musical interval
An optional keyboard allows for pitch
including several types of reverb and
each with a variable delay, which allow
speaker systems (especially
of
the same signal away from the
a
control which periodically
Unlike heterodyne "frequency
Maximum delay and one interval of
long delay generates a distinctive
advanced circuitry
can be achieved
The pitch ratio selected
digital
in
delay line.
sound reinforce¬
useful for
of a
reverb.
shifts
single
EVENTIDE INC - ONE ALSAN WAY * UTTLE FERRY, NEW JERSEY 07643* 201 641-1200-TWX: 710 991-8715
3
TERMINAL
NUMBER
1
2
3
4
5
6
7
8
3
la
91
12
FUNCTION
Remote Control
Remote Control
Remote Control
Remote Control
Optional
Optional
Chess Is Ground
Main Output OUT 150 ohm unbal
Main Output COMMON
INPUT 10K +phase
INPUT 10K -phase
Chassis
Bias OUT
Voltage
Frequency
GROUND
Output OUT 150 ohm unbal.
Output COMMON
Ground
SYSTEM INTERCONNECTION
HARMONIZER
IN
IK
model
■
H910
FUNCTION
(option
Remote Control
Remote Control Voltage
Remote Control
Remote Control
Optional
Optional
Chassis
Main Output OUT 600 ohm +phase
Main Output OUT 600 ohm -phase
INPUT +phase
INPUT -phase
Chassis
---'V
03}
Bias OUT
IN
Frequency
GROUND
Output OUT 6D0 ohm +phase
Output OUT 600 ohm -phase
Ground
Ground
IN
|
'
i
^
INTERFACE MODES;
Voltage control
Pitch Ratio
of
It Is possible
ratio by supplying
to +15VDC. An Internal
control
it compatlble
tage should be applied
2
,
to Insure that the control
voltage
with pin 2 being more positive.
to
remotely
a
control
full scale between +5VDC and +15V0C, making
with various
between terminal
control
voltage
adjustment
synthesizers.
voltage
REAR VIEW OF TERMINAL STRIP ON
REAR PANEL OF HARMONIZER,
If the Harmonizer
for use with the optional
board, additional
will be provided.
Instructions
the Harmonlzer
in
allows setting
Care should be taken
is as
on
the range from 0
strip pins 4 and
pure and free of
Is
connector(s)
Refer to the
pages 14 and 15,
of
The control
equipped
pitch
the
vol¬
Key¬
i
4
Resistive
control
of Pitch Ratio
Anomalous Readout
Indications
ripple
pitch shifted
TTms 1
limited
mtnai strip.
voltage
tional
withm
open circuit.
flow into the input* limited
exceeding
A remote control
potentiometer
necting
this connection
maximum Input voltage
When operated
containing
2*00.
regardless
Readout continues
This is of advantage
cise ratio and then switch from normal to that ratio without
going into the PITCH CHANGE mode.
as
possible
7. by a
Vnl
IN
pin is a 10K resistor
amplifier
the range 0 to +15 will be feeding an essentially
+15 may damage the Input, and should be avoided.
the wiper to Pin 2* The unit is factory
in
a
Pitch Ratio Readout may Indicate
However,
of
to
avoid
signal.
I0K resistor,
The equivalent
frequency
Is
available
input circuit
in
non-Inverting
Exceeding
may be provided
between terminal
will provide a full range.
in
this configuration
input.
+15 volts will cause current
by
the resistor*
simply by connecting
strip Pins I and 4, and con¬
the Remote Control
the actual
the reading.
to
operate
because
ratio will be limited
Note that the Pitch Ratio
even in the DELAY ONLY mode.
it
permits one to set a pre*
modulation
at
pin I of the ter-
at
series
with an opera¬
Therefore,
Note that the
Is
modes * a Harnxjnizer
of
voits,
the control
Greatly
7*5 volts-
ratios
to
the
current
voltages
to
a
10K
set so that
above
2.00
Control
Range Adj ust
Frequency
of Pitch Ratio
Voltage
Control
SIgnal Requ1 rement
5
To adjust
the external
control
voltage
range, remove the Harmonizer top cover and swing the top board up on its hinges*
The adjustment
located
clrcuit
about 3 cm behind the KYBD/CV switches
board*
In addition
nally varied
from a signal
mode Is preferable
applications
the pitch ratio.
one interval,
val .
The input frequency
fundamental
not accept
present,
and should not be driven by any source from which
a clean* constant
generator/synthesizer
angle waves are all acceptable*
The input voltage
a sine wave, and at least 3 volts for a square wave.
standard
(labelled
to
voltage
In
pitch ratio by applying
generator,
as
the input frequency
the pitch ratio likewise
and its harmonics
signals
logic families
control,
to
the Control
1*e* If the Input frequency
must be spectrally
with more than one fundamental
level signal
waveforms
should be at least Svolts peak to peak for
meet these requirements.
"CV ADJ") is a small trim resistor
on
the bottom
synthesizer,
may be present.
the Harmonizer
an
or
other source*
Voltage mode for musical
is
precisely
increases
pure in that only the
cannot be guaranteed.
such as sine, square,
may be exter¬
input frequency
related
is
increased
by
The unit will
frequency
one inter¬
Function
and tri¬
All
This
to
by
5
I
Tuning
Grounding
Input frequency
creasing
octave produces
wnen using the Harmonizer
It may be necessary
to match another
should be attached
33.48B KHz. For relative
sate for improper tape speed or poorly tuned Instruments]
apply the *1)66 Hz C8 tone to the control
and adjust
Is in tune with the other
The inductor
adjustment
tool through
of the top board.
driver
As with any piece of audio equipment,
should be followed
balanced
7, and 12 are all grounded and there is a DC path connecting
these pins,
6, 9i and 11 are also connected
Nonetheless*.
ble as described
loops and subtle
be interconnected
or
b
y,^stru
will crack the core and make it impossible
configuration
for unity pitch ratio Is 4l86 Hz (c8),
decreasing
a
ment-
and the rnductor
the inductor
Is
located
may be made by inserting
the hole In the ground plane on the left side
tn the unbalanced
the grounds
in
troubles
is at
the Input frequency
corresponding
or
desirable
musical
to
Be sure to use the proper tool-a
when connecting
source.
For absolute
the TRIG point In the center of the
until
underneath
(option
should be connected
the table.
that can occur when equipment
differing
change In the pitch ratio*
with a customer supplied
to
tune the master oscillator
This may be done by ear
accuracy,
be
accuracy
adjusted
the Harmonizer
instruments
03), terminal
configuration
to
Thls will help prevent
(for instance,
or
the top board.
a
the Harmonizer.
the same DC ground.
ground potentials.
by up to
a
for a frequency
frequency
sources.
plastic
good grounding
frequency
to
input signal
hex alignment
to
strip pins 4,
(standard)
insofar
one
keyboard
counter
of
compen¬
Input,
The tuning
screw¬
move.
practices
In the
as
ground
to
in¬
pins
possi¬
1
j
1
J
1
1
n!
;
■
Power
A sure sign of grounding
or buzz is present
is in the OUT position.
with a DC path, and is independent
While the Harmonizer
component
or buzz is among them.
such a signal,
is faulty,
tally*
The Harmonizer
International
the chassis
be operated
breakdown,
check your grounding
this applies
to
on
and there is no evidence
to
is
supplied
standard
the electrical
M5 (nominal)
problems
even when the LINE switch of the Harmonizer
The LINE switch bypasses
is
susceptible
It Is
I EC
very unlikely
If the unit seems to be contributing
almost all accessory
with a three wire power cord and
connector.
or
is if an
of
to
scheme first
ground system.
230 (nominal)
unexplained
whether power is applied.
certain
that the power supply
The ground pin connects
faults
that generating
of
all.
equipment.
The unit may
VAC, 50-&0Hz.
the unit
and
Inciden¬
hum
hum
-J
1
J
"]
i
^
H
U
LINE
CONTROL AND INDICATOR DESCRIPTJDN
This control
audio circuit-
switches
When the switch is in the OUT position,
the unit is completely
need not be app lied.
the Harmonlzer
bypassed
in
by a DC
and out of an
path and power
6
INPUT LEVEL and
LIMIT INDICATOR
This control
Harmonlzer.
maximum dynamic range of the digitil
setting
excessive
The LIMIT Indicator
LEVEL control.
the control
distortion
varies
theMevel
of
it should be adjusted
as
far clockwise
becomes apparent
is
used as an aid In setting
It is adjusted
the audio input to the
to
take advantage
and analog circuitry
as
possible
on
the output signal.
to
give a brief flash each
time the maximum dynamic range is even momentarily
Because the LIMIT indicator
of the characteristics
circuitry,
sionalltj
is strongly
It is desirable
during' normal
dependent
As an aid to the operator,
SIGNAL SOURCE
Integrated
Integrated
Voice (tal king)
Piano
Guitar,
Guitar,
acoustic
fuzz
Synthesizer
Organ
Drums
program
program
(radio)
(live)
of
is
peak responding,
the internal
for
operation.
the indicator
signal
to
The amount of flashing
upon the nature of the Input signal.
a
general
guide is provided:
LIMIT INDICATOR DUTY CYCLE
once per two seconds
once per second
once per two seconds
2-3 per second
2 per second
1 per second
infrequent
infrequent
once per beat
and because
processing
flash
of
before
the INPUT
exceeded.
occa-
the
by
FEEDBACK
MANUAL
Remember, the above is a general
best measuring
one at which the output
not yet evident.
The FEEDBACK control
instrument
around,
level is maximum and distortion
may be used to add reverb In controlled
amounts to the delayed output of the Harmonizer.
attenuates
applies
signal.
nal is applied
is controlled
by adjustment
of the control
gain exceeds
oscillate.
the signal
it to
(The signal
coming from the main output and re¬
the input where It is mixed with the incoming
Is
Isolated
back to the input line).
by
the DELAY setting,
of
the FEEDBACK control.
increases
unity,
at
The control
reverb time, until
which time the system will begin to
Is
CHANGE mode, and may be used to create numerous extremely
unusual special
The MANUAL control
only.
It Is used to change the pitch ratio between the In-
effects.
is
operative
guideline!
and the best setting
internally
the decay time is varied
also operative
in
the PITCH CHANGE mode
The ear is the
so
that no sig¬
The reverb period
Clockwise
the feedback
in
the PITCH
The control
rotation
Is
is
7
ANTI-FEEDBACK
f
DELAY ONLY and
LED INDICATOR
put and the output.
fully clockwise,
increased
ratio is .5, and the output pitch Is decreased
Intermediate
the control
adjustments
This control
when the A-F button In the PITCH CONTROL SELECT group Is
depressed*
BACK control
shift to the output signal,
effect of room resonance peaks on the signal which ultimately
re-arrives
more audible as the control
Is a compromise between adequate feedback reduction
audience and/or performer
This switch determines
izes* When It is depressed,
the unit Is defeated,
digital
lately adjacent
legends beneath the ADD'L DELAY switch group become relevant.
When the DELAY ONLY switch is in the out position,
INDICATOR adjacent
becomes illuminated,
ADD'L DELAY group are the only ones activated*
the legends above the switches
by
is
easier*
Is
Increasing
at
delay line.
one octave*
settings
progressively
When centered*
the ratio Is 2, and the output pitch it
When fully counter-clockwise,
produce fractional
"bandspread"
operative
the microphone*
and the Harmonlzer acts strictly
In this mode, the LED INDICATOR Timed-
to
the switch becomes Illuminated,
to
the PITCH CONTROL SELECT switch group
and the two right hand buttons
around unity to make small ratio
In
the PITCH CHANGE mode only,
clockwise
adds a smalt up and down frequency
which serves to decrease
Is
disturbance.
the mode of operation
the pitch change capability
the ratio 1$ unity*
by
octave ratios,
rotation
Because the effect becomes
advanced,
are relevant.
of
the ANTI-FEED¬
the optimum setting
of
When
the
one octave.
and
the
and
the Harmon¬
of
as a
and the
the LED
In
the
In this case,
l
a
n
ADD1L DELAY
SWITCH GROUP
PITCH CONTROL SELECT
SWITCH GROUP, LED
INDICATOR
This switch group controls
the DELAY ONLY mode, the delay Is the sum of the delays of
the Individual
of the switch group* Maximum delay is 7*5-H5+J0+60 millisec¬
onds {H2*5ms),
in /.5ms steps*
delay Is the sum of the delays of the two right hand switches
depressed.
In the PITCH CHANGE mode, the delay Is continuously
over an approximate
achievable*
When the PITCH CONTROL mode Is activated,
Immediately
group becomes illuminated,
trol of the pitch change function.
MANual: This switch delegates
A-F:
KYBO:
switches depressed,
and any intermediate
In the PITCH CHANGE mode, the additional
Maximum additional
30ms range, and so a precise delay is not
to
the left of the PITCH CONTROL SELECT switch
the MANUAL control,
Depressing
to the ANTI-FEEDBACK control as described
Allows operating
board.
the Anti-Feedback
This keyboard may be either EVENTIDE option
the delay of the main output.
as
read out on the bottom
setting
delay Is 3{H30ms. Note that
and the four switches assume con¬
control of the pitch ratio to
as
described
switch delegates
the Harmonlzer by an external
can be achieved
varying
the LED INDICATOR
above.
above*
control
key¬
In
■l
8
POWER AND LEO
INDICATOR
OPTIONAL EQUIPMENT:
PITCH RATIO READOUT
05 single
board, or a synthesizer
provides
level and frequency
Interfacing
An external
7*5V may be used to control
precise
the Harmonizer
For requirements
to the Interfacing
Depressing
this switch applies
The LED 1 NOICATOR becomes i11umjnated
unit is operational.
If your Harmonizer
READOUT or a second output,
ved for them will be covered with a plate.
An LED readout gives the numerical
monizer,
As this is a true digital
ject to ml sea11bra11on and may be used as a precise
When using the Harmonizer
for tempo regulation,
speed should be set to the reciprocal
plied by the base frequency
PITCH RATIO READOUT shows 1,30 (which corresponds
Increase
illator
of
frequency
about 5 musical
a 60Hz synchronous
voice or 06 polyphonic
or
sIgnaIs
range may be internally
section
variable
compatible
In
the same frequency
requirements,
of
this manual,
voltage
and adjustment
section
AC
power to the Harmonizer.
with
of
is
not equipped
the front panel locations
in
conjunction
the oscillator
(such as 60Hz).
intervals).
to
reduce this to normal pitch,
motor, multiply
with the PITCH RATIO
pitch ratio of the Har¬
readout,
hOHzXl/ 1.3Q=j
phase-locked
other oscillator
refer to the
variable
the pitch ratio.
adjusted
various
information,
this
manual.
indicating
it is
with a tape player
controlling
of
the readout multi¬
example:
To find the osc¬
range,
from 0 to
to make
synthesizers.
that the
not sub¬
referenee
the tape
to an
assuming
+6
■
1 5Hz,
which
refer
reser¬
The
key¬
For
The
*
OUTPUT 2
A similar
or slow down.
want to run in 60 seconds.
I: Find the speed ratio
2;
3: Find the pitch ratio
Note that settings
too important
applications
tempo adjusted,
For musical applicat
setting
intervals
page of this manual reprinted
contains
MUSICAL RELATIONSHIPS.
This switch group controls
It is operative
switch.
procedure
Assume you have a 65 second tape which you
Find the requlred
normal:
reciprocal
in
in
which the entire
to
precise
can be set using the readout,
a
chart showing PITCH RATIO READOUTS FOR VARIOUS
regardless
The total delay is the sum of the buttons
may be used to calculate
time speed up
desired:
osci1 lator frequency:
required
of
speed ratlo=t/l,083=
past the second decimal place are not
non-musical
ions, our optional
Intervals
to
applications,
program is being pitch or
automatical
from our
65/60-1.0S3
1.083x60Hz=65Hz,
reduce the pitch to
■
923-
or
even in musical
keyboard will .allow
1y. These same
and referring
17^5H manual* which
the delay of the second output.
of
the setting
of
the DELAY ONLY
to a
depressed.
9
The preceding
with other components
which It may be put.
aM^n^J
all applications
cost effective
circumstances
PSEUDO STEREO
L
sections
0 8 'ar
digital
Is
applications
detail
of
The Harmonizer
9<! efent b0th m0des are ""^pendent,
must make use of all features*
delay line for
the ideal purchase
output to its input through operational
over which there will be addition
the .operation
the system.
Connect the Harmonlzer
the unit for 7.5ms delay,
shown below, there will be a broad range of
This section
performs
even If the PITCH CHANGE
SHORT DELAY, PITCH CHANGE UNUSED
of
Urge group of applications*
the Harmonizer
will discuss
two
distinct
For '
to a
If J op amps are used> as
a
functions:
and one should not fee) that
nstance,
program source,
in
the Harmoni zer is a
capabi11ty
one channel
gnd its interconnect
few of the uses to
DELAY and PITCH
and in some
is
never used
and add Its
amplifiers
frequencies
and can-
Set
on
tnat
Right
HAAS EFFECT
SOURCE LOCATION
HUM REDUCTION BY
C0M8 FILTERING
cell ation in the other,
interleaved
filter
the source wilt appear to
output.
the two signals
and cancel the delayed
very convincing*
7,5
one side of one or more instruments
mixdown to aid the illusion
tends to localize
of first
direction
In "delay panning"
present
picture
than the typical
delay for such uses.
By setting
from the input in an operational
produced at every
tions given earlier.
delay to precisely
I8OH2, etc*
capacitor
enough.)
ms, and perhaps as much as 15ms of delay can be added to
comb filters
width being about
The circuit
added together
a
incidence*
is
somewhat louder.
in
in
all speakers*
sound track.
DDL* it is economical
the Harmonizer
66*67
(If the tuning range is too small,
may be added in parallel
The outputs
in the frequency
vary from the "left"
introduces
signal*
source as coming from the direction
even if the signal coming from another
situations
As the Harmonizer
Hz. By following
It
should be possible
16.666ms,
of
such as in a three-channel
at
15ms and subtracting
which will produce nulls at 60,120,
will appear as two
domain, with the
As the input frequency
to
the "right"
no
compatibility
recreate
yet the illusion
source placement.
This may be used to advantage
where the signal
amplifier,
to
in a
is
to
the coll*
the original
stereo
much less expensive
tie up a channel of
the TUNING Instruc¬
to
problems as
of
or
The ear
must be
cancellations
increase
a
very small
5pf
stereo
quad
the output
shifts
Input
j s
motion
are
the
should be M
:J
—1
ps
1
10
VOCAL AND INSTRUMENT
"DOUBLING"
DELAYED ECHO FEED
At delays between 15 and 60 milliseconds
45ms) adding the delayed
directiy,
Illusion
tends to "fatten"
of adding iushness
the optional
A typical
tion in the center
say,37-5
ed this tl me by 60 milliseconds
delay setting
sharp transients
delays,
deI ays,
Natural
the original
interposing
input, one can to a degree simulate
by delaying
vary from 30 to 100ms,
or to a
of
more than one singer or player.
application
milliseconds
is
vocals medium delays,
room echo is characterized
the Harmonizer
the onset of the echo.
different
the signal,
to
output produces
of
largely
such as guitars
return
signal
string
would be to feed a small string
the mix, and the same signal
on
the left,
a
from the first
to
panning position
and is an excellent
and horn sections.
a
further
on
matter of taste*
will typically
and strings
by a
between the signal
(typically
the original,
creates
Doing so
multiplying
and the same signal delay¬
the right.
reflective
rooms of various
Typical
Instruments
and horns longer
short delay before
pre-echo
22 to
either
Using
The correct
require
surface.
and the chamber
the
method
effect.
delayed,
sizes
delays
sec¬
shorter
By
with
SOUND REINFORCEMENT
LONGER DELAYS, PITCH CHANGE UNUSED
A common problem
propagation
auditorium
end, how does one get the sound to the other end without echoes?
For good coverage,
and 70 feet from the end, but a listener
would hear sound from the nearest
sound from the middle speaker,
of the lecturer.
able to hear the direct
sound.
systems
This solution
necessary,
sions of the room emphasize
with balconies
must be employed for intelligible
By using a two-output
speakers
the microphone,
effect.
makes the sound appear to emanate from the front of the room,
(This Is a practical
earlier
The traditional
in
with signals
The delays should be adjusted
In
in
sound reinforcement
velocity
100 feet long with a lecturer
favor of loudspeakers
works, but requires
and gives progressively
this section).
of
sound in air.
speakers
For proper perspective,
(such as many churches),
thus eliminating
application
could be placed,
sound first,
solution
Harmonizer,
delayed
speaker
followed
has been to avoid distributed
slightly
more level than is strictly
length over height.
one can feed the distributed
according
the precedence
of
results.
is
caused by the slow
Assuming a room or
or
singer at one
say, at 40 feet
near the end of the roorr
first,
finally
followed
poorer quality
the distributed
to
to
the Haas effect,
by
it is highly desir¬
by
behind the stage.
their distance
the setting
followed
the voice
the reinforced
as
the dimen¬
In low rooms
reversal
which
mentioned
by
approach
from
REVERBERATION
The Harmonizer employs a FEEDBACK control,
varying amounts of the main output bac£ to the Input, Turning
this control clockwise while the unit is In DELAY creates
FFFnnir*U,at!?n
FEEDBACK amplitude and the length of delay engaged.
types of reverb and echo can be simulated
two parameters.
dual output unit by adding another feedback pot from the
second output to the input, thus giving two independent
time constants*
i°°P’
Additional
Wh°Se decay tirne depends upon the
realism can be Injected with a
which applies
by
adjusting
Various
these
PITCH/TEHPO
VARIATION
GETTING TRACKS
BACK IN TUNE
SPEEDING UP/
SLOWING DOWN
COMMERCIALS
FAST REACTION
PITCH CHANGE
The Harmon Izer is capable of changing pitch by up to a full
octave in either
The CONTROL AND INDICATOR DESCRIPTION section describes
modes and methods by which this may be accomplished.
When mixing a multitrack
instrument
earlier).
musician.
1s possible
t racks,
There are numerous occasions
the length of recorded material.
be fit Into a time slot, a conmercial
etc.
speed control or VSO allows one to correct
changing the pitch of the recorded material.
In certain
necessary
value to another.
conjunction
The accessory
lent switching
These resistors
terminals
assume the pitch ratio to which they were set earlier.
similar set of resistors
tape speed control,
and independently
1s
It may be Impractical
By playing that track through the harmonizer,
to
Using the Harmonizer
c i
to
with an easily built accessory
on
direction
out of tune,
restore
resistances,
make rapid changes In pitch* from one controlled
The voltage control mode may be used In
consists
arrangement)
may be sequentially
the rear panel, and the Harmonizer will immediately
so
varied.
while preserving
master, someone may notice that an
(Don't ask why it wasn't noticed
or
impossible
it to
of a
that pitch and tempo may be simultaneously
the pitch of the rest of the
when radio stations
An editorial
may be 63 seconds long,
In
conjunction
particularly
rotary switch (or any other conven- j
and several variable
can be concurrently
in
switched across the control
musical values
to
recall the
It
must vary
may have to
with a tape recorder
length without
film work, it is
to
effect this.
resistors.
A
switched In the
the
-s
J
J
j
i
LIVE PERFORMANCE
The optional
to Mplay" the pitch ratio so that any musical Interval
the original
taneously
ation, the keyboard may control three Harmonlzers
allowing multipart
keyboard available
Input and the pitch-changed
achieved.
If purchased
harmony.
for the Harmonizer allows one
output may be Instan¬
in
its polyphonic
Note that If this feature
at
between
configur¬
once,
Is to
nm”
f
provision
from the monitor
perfonner
actually
nJd
should be made to eliminate
tends to create
being sung*
t
Sm9er dUn"9 3 Hve Performance,
mix, as the acoustical
This tends to throw him off pitch,
some confusion
the Harmonizer
feedback
about what note is
to
the
some
output
at
12
FEEDBACK
A unique effect
while the Harmonizer
effect:
the character
What happens?
pitch is Increased
the MANUAL control.
can occur before the original
band avallable
val (about
equally
between the notes is determined
amplitude
back amptitude,
Additional
of the pitch change,
a 30ms range.
is turned up, an extremely
when the pitch ratio
a literally
next generation
a Harmonizer
The WANUAL * ADDF L
tempered
between successive
can be achieved
Is
changing pitch.
and extravagance
Each time a signal goes around the loop, its
or
decreased
If the ratio
if for Instance
1*0b), putting
scale which is output
interest
indescribable
will be used to audioize
is
If the ADD'L DELAY is set at 0 and the feedback
is
of
monster pictures
a
added by the fact that as a consequence
the delay is contInuously
near unity, and as the ratio
by
employing
DELAY, and FEEDBACK all
of
the weirdness
according
is
small,
signal
tone into the input generates
notes is determined
"hollow"
effect
is
the ratio
sequentially.
by
the delay setting,
variable
is
created.
comes out— we bet that
the BEH^s.
feedback
Three
controls
to
the setting
many repetitions
out of the frequency
is
set at one inter¬
changing
reverb is set up
Wait until
caused*
by
chang
have
e
of
The time
and the
the feed¬
over
is
varied,
an
the
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