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Reply To: Can the H9 do hold-reverb like these?

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The coarser delay-based take on resonant filtering can make for some unusual drones.  And that can be most any of the TimeFactor or PitchFactor algorithms.  But the Ducked Delay algorithm can be set up as automated switching between new input, and the trailing drones.  It’s a unique variation on FREEZE, with footswitch action replaced by your playing technique and dynamics.

The two DELAYs set up parallel ‘drones’ with infinite FEEDBACK (which the inline FILTER will eventually ‘decay’ .  This THRESHOLD setting ensures that most any input note will cause the drones to duck down.  A quick note release snaps the drone level back, while a legato fade or string decay will gradually bring up the held sound.  Longer input notes disguise the discrete echo repeats, and finger vibrato can coax the drones back seamlessly.

No HotSwitch here, but the Performance Switch controls REPEAT (yet another variable locking the frozen sound).  At first glance, there’s nothing special with the expression pedal programming.  DELAY A goes from 75mS to 25mS, while DELAY B drops from 100 mS to 50 mS.  A switch to Tempo mode will quantize your parameter ranges in interesting ways.

But this kind of ‘time modulation’ gives up several effects; depending on how & when you use it.  It can change the beating ratio between tubular sounds.  It can bend the apparent pitch, or ‘erase’ the drones with micro-delay times.  There’s sped-up and slowdown FX.  Or rhythmic imprints over the recirculating FEEDBACK.  All this can be done in the background (input + ducked delays), or the foreground (no input + delay levels up).