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 Thanks for reporting the Technote readibility issue. I will have it fixed.

I'm copying the full content of it at the end of this posting.

Fx that should be used in line (series) are those affecting tone. level and dynamics, that is Wha – Eq – Tremolo – Volume pedal – Overdrive/Distortion-  Compressor. Time domain FX (chorus/flanger/delay/pitch/reverb) should be placed after those fx and *possibly* in a parallel routing, as the technote explains.

Keep in mind that Eclipse is not the typical "30 gazillions of effects in a box!" product.

We don't believe in that kind of product as sound compromise is their main feature. So…better having lesser quantity BUT higher quality of them. One Eclipse is not going to provide you all that stuff. You may have some analog pedals that do part of the whole thing….or think about an H8000 or 7600 which offer MIDI Virtual Racks for the serious uncompromising guitarist. More about them at the end of the Presets Manuals of these units, downloadable from the Eventide website.

Here's the Technote for you!

 A very recurring topic on Eventide Helps is optimization of signal routing/connections
between amps/preamps – Eventides – power amps. General guitar systems management!
I'll be dividing the topic into different usual typical scenarios:
1- gtr > combo amp
NOT the most exciting way to enjoy the power of your Eventide and, often, of your gtr and
You are loosing stereo signal (reverb is a stereo natural phenomenon) and usually have
interconnection problems.
The adviced connection of an Eventide in such a scenario is :
put your Eventide in the amp FX LOOP!!!
FX Loops are tricky, and often poorly designed.
In a perfect audio world, an FX loop SEND should provide balanced +4dB audio signal
and accept balanced +4dB audio on its RETURN.
The FX LOOP is designed to interface amps with rack gear, not footstomp fx. These
should be connected between gtr and amp input…they are meant to be there!
In this world though, FX Loops for gtr amps usually use 1/4" jack connections, unbalanced,
mostly @ -10dB. Some better designed gtr amps give a choice, w/a selector switch, to
change SEND/RECEIVE line levels between -10dB/+4dB, which is a real bonus.
If your combo FX LOOP has a +4dB fixed or switchable level, you are "on board" to
enjoying your Tide at its best.
Adviced connections are: KEEP the EVENTIDE inputs and outputs BALANCED (we use
XLR only! for +4dB) and UNBALANCE the cables ends connected to your amp FX LOOP
Info on how to wire balanced to unbalanced is available in all units manuals. This
configuration is true for H3000/3500, DSP/GTR4000/4500/7000/7500, ORVILLE,
In the worst case scenario, your FX LOOP works on instrument level, -10 or -20dB; check
the rear panel for any notice on this or the manual. If this is the case…well, for the time
you'll need to upgrade your system, you'll have to live with that!
How? Use the 1/4" jack connectors of your 4000/7000/ORVILLE/ECLIPSE to interface the
Eventide w/your amp FX LOOP…all unbalanced, instrument level.
H3000/3500 owners will have to keep balanced wiring on the Eventide side and unbalance
the cables end on the FX LOOP side.
Then you also need to open the H3000 top cover and move 2 small internal jumpers to the
correct position, to engage -10dB levels handling.

In any of these scenarios, an FX loop might give an extra choice, particularly on more
modern and better designed amps: SERIES or PARALLEL FX LOOP.
The traditional FX LOOP is SERIAL, meaning that it is a real break between your combo's
preamp and power amp!
Your preamped gtr signal will always go thru the digital converters of the connected FX
processor and you'll need to use the processor fx balance (dry/wet %) to set dry and wet
(=fx) levels.
The PARALLEL FX LOOP features a straight unbroken connection between the combo
preamp and power amp, in parallel with a break between send/return , usually with a send
level (to the fx inputs) and a mix level (an fx output level) or, more usually, this last level
Your preamped gtr signal goes straight to the power amp, untouched, unconverted into
digital domain, staying as your main DRY signal…the real thing, dudes!
Your fx processor output is managed in parallel to the dry sound, summed to it.
The advantages are many:
-signal levels are kept at their natural "levels" , without loosing that "in the face" energy you
all desire!
-tone preservation…you know what's that, don't you?
-better signal/noise ratio.
The only trade-off in PARALLEL fx loops is that typical IN SERIES treatments/fx, like
compression/Eq/wah, will be mixed with your dry signal…and this is not what you want
when using these fx. Suggestion: use compression/wah/eq between gtr and amp input,
using other gear.
Hope: someday a clever gtr amp company will build an amp with switchable and
remotable series/parallel FX loop…one day!
2- gtr > 2 combo amps
All previous suggestions apply to this scenario too, BUT…
you might want to use 1 preamp only and the two power amps….how?
Connect the FX LOOP SEND of combo A to your Eventide, then connect the Eventide's
outputs to the COMBO A and B FX LOOP RETURNs, as right and left feed.
This will allow you to run FX in stereo and manage tones with a single preamp, much
easier for channel switching than 2 preamps, right?
Another, MORE adventurous, scenario is to have both combos preamps feeding your
Eventide inputs, from their FX LOOPS SENDS.
With some imagination, using a router or 2 line level pedals to change level between
SENDS and Eventide inputs, you can instantly switch or "blend-Xfade" the two preamps
into the Harmonizer, then out to power amps.

This will allow you to have 4 channels tones, if your combos support two channels each.
You will need to have a very accurate dry level management: best if you have SERIAL FX
ORVILLE/DSP/GTR4000/4500/7000/7500 will allow you to manage all dry-s and wet-s
internally, taken the time to create such routing/mixing parameters within EACH patch.
Again…this is not a common "orthodox" thing…but clever applications arise from it!
Imagination is the key.
3- gtr > rack preamp > rack power amp
Easier to interface! In theory!!!
What's been said regarding balanced vs. unbalanced /+4dB line level vs. -10/20dB
instrument level applies to this scenario too.
A vastly used pro-approach is to insert some kind of switching/mixing devices between
preamps and power amps.
If you only use one single FX processor, follow the previous guidelines. If you have 2 or 3
or 5 Eventides….lucky dudes,. you need a splitter and a mixer!
Connect one of the preamp outputs to the mixer, straight; set panning on CENTER: this
will be your DRY sound! You sweated for years to achieve THIS tone, don't you?
Connect another preamp output to the splitter (Digital Music Corporation, CAE, Rane
make these boxes) and feed the splitter outputs to the Eventides you want to use IN
PARALLEL; run these Eventide's outputs to 2 mixer channels each, pan them full R and L
for stereo spread.
Run your Tides on 100% wet!
You might use the mixer's FX send(s)/return(s) (or mixer channels) to use another
Eventide or two to add reverb/delay to all desired channels, thru the channels SENDs
This approach is definetely open, allowing for multi-processors setups management and
exciting series/parallel blending of fx. Studio attitude on your gtr rig…bam!
More diverse and complex routings (splitting/mixing/serial/parallel/…more) are possible
with a particular dedicated device like the SoundSculpture Switchblade; a very unique and
powerful unit that deserves your attention on http://www.soundsculpture.com
Many Eventide users, of any fame, use these incredible devices! Take a look at them.
These are the most common scenarios. Others can exist and need to be specifically
analyzed to give proper advices.
To sum up a few things:
-try to run your Tides at the highest line level possible…better +4db than all lower ones.
-keep the Tides inputs BALANCED, while unbalancing the other ends, when and IF
After extensive tests on the market, I have found 5 machines ONLY, capable of running a
gtr signal properly, when inserted in a SERIAL FX LOOP:
DSP7000 DSP7500 ORVILLE H7600 H8000
All boxes today run 24bit conversion…BUT only Eventides treat datas, after conversion, at
Others still run 32bit, while Tides are on 56 since 1992.
Coupling 24bit conversion with such internal 56bit processing (and highly specialized
algorithms) makes the trick: using a serial connection, you DON'T want to hear any signal
level or tone degradation and that tight dynamic string sound projection has to be THERE!
What the DSP4000 did was amazing, much ahead of its time and still poorly emulated by
Its great sounding 18bit (later 20) converters could not provide enough dynamic range for
SERIAL processing gtr signals handling, like any other hi-end product of its time.
The newer products achieve what the 4000 promised, thanks to their highest bit
conversion and bigger DSP power.
The perfect example of this is the VIRTUAL RACKS bank, in OS V3.0: a
musician/engineer dream-come-true.
Full racks of 4 full blown classic fx processors assembled in a single preset, with midi
on/off and faithful parameters, UI, algorithms structures, sound reproductions.
They also feature dry signal going thru converters and managed in parallel, with its
indipendent level.
Now you can go out w/your gtr and amp set up, w/a single FX processor and enjoy total
control, highest possible audio quality, amazing effects and portability.
5 years ago you had to buy a refrigerator of processors, cables, power strips, etc….GONE!
I have been dreaming of this since 1980. Now you got it.