- This topic is empty.
-
-
For a closest emulation of a multi-head tape machine, I’d go with the QuadraVox, or Resonator algorithm. Either one will give you 4 delays, with variable ‘head spacing’, and the ability to turn each ‘head’ on or off.
Resonator also provides 4 filters, & feedback capabilities. QuadraVox is almost too clean, & any pattern repeats have to come from a 2nd delay line in series. But it’s also the best algorithm to illustrate the concept:
- PITCH A, B, C, D should always be at UNISON, or OFF; depending on the ‘Tape Head Matrix’ program.
- DELAY GRP should be at .A.B.C.D, to simulate four equally-spaced tape heads.
- Tap the DELAY D time for the maximum delay length.
- KEY and MODE don’t matter. PITCH MIX centered; MIX to taste.
Then set each ‘head’ to UNISON or OFF, with the ‘Tape Head Mode Select’ chart translating like this:
- HEAD 1 = PITCH A
- HEAD 2 = PITCH B
- HEAD 3 = PITCH C
- HEAD 4 = PITCH D
Resonator adds features; enhancing the realism. It’s the same concept, presented in a slightly different way:
- NOTE 1, 2, 3, 4 will be at OFF, or ‘ON‘ with a variable tuned filter position.
- RHYTHM should be at 2.4.6.8 to simulate 4 equally-spaced playback heads.
- Tap the LENGTH for the maximum delay time for all four ‘heads’.
- RESONANCE isn’t absolutely required, but the high and low pass filters are still active.
- FB1 is a more straightforward pattern regeneration. FB2 will shift & degrade the pattern.
- MIX to taste. A tiny touch of REVERB adds some ‘glue’.
The easiest place to fine-tune the ‘heads’ and filter positions is in the NOTE GRID view:
- HEAD 1 = NOTE 1
- HEAD 2 = NOTE 2
- HEAD 3 = NOTE 3
- HEAD 4 = NOTE 4
-
With Eventide algorithms, there’s another tactic to create ‘head stacking’ patterns. You leave all four ‘heads’ active (on). Then shift the DELAY GRP [QuadraVox] or RHYTHM [Resonator] to move the ‘heads’ themselves into different patterns. In stereo, the ping pong delays will end up as dual mono stacks.
But the head stacking doubles up the echoes in a given pattern position. Obviously, this works best for program patterns that have one or two ‘heads’ active. All of these images in both replies here reflect the Dark Side Program 7 pattern [HEAD 3 + HEAD 4].
The DELAY GRP parameter (in the QuadraVox preset above) stacks PITCH A + PITCH B in the same head position, plus PITCH C + PITCH D in a second head position. Below, the RHYTHM parameter stacks NOTE 1 + NOTE 2 at the 6th position, plus NOTE 3 + NOTE 4 at the 8th position.
The added bonus in the Resonator algo is that you can stack multiple filters in those same ‘head’ positions.
-
-
I understand why Keeley described the pedal the way he did but its confusing. This gets wonky to explain over the internet but I’ll try. The downbeat is not acounted for on the Matrix, only the delays. So to get started, the first chord in the example (it is program 7) is coming out of nowhere. Then the subsequent downbeat is in the empty 4th box on the Matrix. I’ll try to demonstrate with numbers:
4|1 2 3 4|1 2 3 4|1 2 3 4|
This is what the Matrix would look like. The Bold 4 is the guitarist playing on the downbeat. The 2 and 3 are supposed to be italized and represent the delays. (With all this technology available, a pencil and a piece of paper would still clear things up so much faster.
) A rhythm of “8th – 16th 16th ” is ultimately what you get and is very clear at the very beginning of the song. The delay times should be an 8th note and a dotted 8th note. Other variations are possible and will get you the same result. Keep in mind every sound the guitarist makes, on purpose and on accident, also greats those delays. Combined with the reverb, you get a nice ambient sound with a core rhythm of |1 2 3 4|. Whether it sounds like that or looks like that depends largely on what the guitarist is playing. Also, given the nature of tape delay, the delays might not be spot on the beat either. (This would be a stylistic feature not a problem with the delay pedal.)Wait an minute, he is using 4 pedals?!
I’m going to bed! -
bodde wrote:Given To Fly wrote:
A rhythm of “8th – 16th 16th ” is ultimately what you get and is very clear at the very beginning of the song. The delay times should be an 8th note and a dotted 8th note. Other variations are possible and will get you the same result.
I think we mean the same thing but you describe it more complicated. The guitar is playing on the the down beat. The first repeat is coming on the fourth 16th note. The second repeat is coming on the second downbeat (so fifth 16th note). So you should program a 1/4 delay and a dotted 1/8 to get that. Not a 1/8 and a dotted 1/8 as you say.
You are right about the 8th and two 16th pattern. But that is only after the first repeat. The first pattern is a dotted 8th followed by a 16th and than the second repeat is a 8th plus two 16th. Just I was describing in a previous post. I think that is the result of it being a delay in series or something. So this exact pattern is not possible on the H9 to my knowledge. Closest you can come is by using Brocks examples or using a 1/4 delay plus dotted 8.
A student is mine is playing that Keeley piece now for a perfomance. So thank you for pointing out that video!
Probably.
- You must be logged in to reply to this topic.
