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That's a beautiful sound. It's a keeper. I'll repay the gesture with a decidedly less-beautiful preset from the HarModulator. Rubberband octave pitch shifts in opposite directions. The low sensitivity on the envelope starts it glitching on lower input, long decaying notes, or with lighter picking technique.
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Like your Ice Slide preset Lordradish! Think we are on the same boat. I am also into ambient presets. Here two spacy presets for you using the Micropitch. been using that a lot lately, great for ambient and spacy stuff. Have a nice trip!
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Well, everyone with an H9 box has the H910/H949. It's one of the more versatile algorithms, and one of my favorites. And you can't get more trippy than this KlangMangleOrgan preset.
It looks harmless enough. An octave below – an octave above – MODERN Type for accurate pitch shifting. Maybe a clean POG-like setup. There's 0 milliseconds in the delay times, but … 100% Feedback for each delay. That does some strange things to the preset, by regenerating the minimal processing delay for each pitch shifter.
This 'organ' starts chorusing, sweeping, churning, and bending off-pitch. More so with polyphonic input. There's a tiny bit of sustained room sound after each note. But the real madness comes with an expression pedal. Pitch A maps from 0.500 to 2.000. Pitch B reverses the direction: 2.000 to 0.500.
Octave up and octave down simply switch positions. But every point in-between full Heel & full Toe generates a different, otherworldly sound. Bubbling; bell tone, warp speed, takeoff & landing, barberpole … absolutely crazy special FX. Either end of the expression pedal travel returns to the Phantom of The Opera organ sound.
The Flex / Repeat / Performance Switch freezes 200 ms. chunks of effect. Loads of variations to be had here by switching Type, or actually adding some Delay time.
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I never considered myself to be an ambient guy, but maybe I just don't know it. There's a slapback sync delay here before 1 octave & 2 octave upward shifts. Everything pre-pitch shifter is at a minimum. Nearly everything post-shifter and in the feedback loop is maxed out. It ends up as blooming, almost metallic slices of octave shimmers.
I had the expression pedal mapped 0-50 on the Pitch-Decay, for a subtle to medium effects. Ramp up to 100 for more extreme and in-your-face effects. My favorite technique of late is mapping the HotSwitch to change Pitch-Decay at 50 to the FRZ position (Pitch+Verb). I guess that makes me at least an ambient wannabe.
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Quote:Aside to ET: What happened to Dotted 1/4, 7/16, and 1/2 in the HarModulator? In the last several versions of H9 Control, Delay A has the full range of time divisions. Delay B maxes out at 1/2 Triplet. Full range using the PitchFactor hardware, but not reflected back to or from H9 Control.
This GlidingDotted8th preset is a slightly tamer variation on the RubberBandGlitch settings above. A perfect 4th quickly slides down to Unison, while the 5th glides upwards to an octave.
The pitch shifts are spread against dotted 1/8 and 1/4 note delays. I added a little Feedback here, but I usually program that parameter in the expression pedal for a range of 0 to 100.
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SlowGear Tremolo does just that: A fast buildup of delay taps that peaks, then trails off into a rapid tremolo. The Speed of the Chop is mapped from 1/16 – 1/4 note for live slowdown effects on the tails. The HotSwitch raises the Taps density from 8 to 64, for more emphasis on the 'swoosh', with a resonant tremolo sustain.
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Loaded and tested all of these, some very cool sounds, thanks guys. KlangMangleOrgan is unbelievable swept with expression pedal, I just spent half an hour blowing up alien spacecraft with phaser beams testing it with different settings, Brock you rock. Earlier I watched a friend working on a brass quintet piece in Presonus Notion, I'm thinking his bass horn could use some klangmangle.
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Swarm Of Hornets is not the kind of preset that I set out to program. I'm new to the Mod Delay algo, so this one is a happy accident. Slapback flutter echoes with modulation. It acts like a mutated reverb on staccato notes; a buzzing Vibe on legato notes.
Delay time pitch bending and a wetter mix with the expression pedal. There are some nice, lopsided flanging areas towards the end of the pedal travel (with the delay times >20 to 0 ms.). This algorithm *may* be the answer to all of those Uni-Vibe requests.
Wet Mix Heel: 35
Delay A Heel: 85 ms.
Delay B Heel: 85 ms.
Wet Mix Toe: 75
Delay A Toe: 0 ms.
Delay B Toe: 0 ms.
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Here's an E minor pentatonic riff that decays over time. The FB:2 selection in Feedback "degrades the pattern as it repeats"; effectively shuffling the resonant notes around.
The expression pedal fades out the resonance & background reverb. That brings everything forward for a rhythmic, delay-only decay. The Feedback setting still shuffles the repetitions around.
Resonance Heel: -10
Reverb Heel: 20
Resonance Toe: 0
Reverb Toe: 0
HotSwitch programming swaps direction of the notes E5-G5-A5-B5 to B5-A5-G5-E5.
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With my obsession for overdrive try this one out. This is the best OD sound Ive been able to get out of the H9 so far……
TREMOLOPAN- BLUES DRIVE
Drive: 99 (adjust to taste anywhere from 85 – 99)
Type: BIAS
Depth: 1
Sensitivity: 99
Shape: ADSR
Spread: 99
Depth Mod: 99
Speed Mod: 99
Mod Sens: 99
Mod Source: ADSR
Output Level: Adjust to taste -
Leftyz60:
I believe McLaughlin used a 360 Systems Frequency Shifter. (http://synthwise.com/2009/04/13/360-systems-2020-frequency-shifter-bode-ex-zappa) I've been messing around with the Ring Mod settings and I would also like to know if anyone has been able to duplicate that sound…
Your correct but you can get the same type of sound out of the Moogerfooger MF102. I am not able to get that sort of sound out of my Axe fx II or H9. Maybe it has to be analog or something. That leaves me with GAS for a Moogerfooger MF102. Not good!
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I neglected to drop in another preset. Adapted from a popular drum sound of the '80's.
This is a blast-from-the-past with one early commercial use of the H910 Harmonizer. It has a dry mix for more of a background effect. The expression pedal is mapped from 30 to 112 milliseconds for both delay lines.
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The QuadraVox algorithm is great for all kinds of pseudo-fingerpicking and added note effects; with or without constrained-to-scale pitch shifts. Pick cleanly, limit your out-of-scale passing tones, and stick with octaves & fifths (or fourths) for simple 'chord' work.
In this preset, 4 additional notes ascend with equal spacing, from +2nd to +5th. The far end of the expression pedal changes that note sequence from a 5th to an octave above. Over the range of the EXP PED, the groups of notes will change together, but not perfectly in sync with each other. That adds even more variety to the added note sequences.
Here, it's built around an E minor scale, and that works well with single note lines, dyads, and 'power chords'. I like to adapt this technique to some of the more exotic scales available, and switch the directions around to fit the song context. Pitch A,B,C, and D will be played in order, in alternating channels. A+C on the left, and B+D on the right.
Pitch A Heel: +2nd
Pitch B Heel: +3rd
Pitch C Heel: +4th
Pitch D Heel: +5th
Pitch A Toe: +5th
Pitch B Toe: +6th
Pitch C Toe: +7th
Pitch D Toe: +1oct
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The recent addition of a fourth H9 has added immensely to the possible order and combination of effects, or allows the use of one unit as a looper and three as effects, etc. Including the multi-fx algorithms like ModEchoVerb and the delays with modulation, pitch shift, or reverb, the possibilities are nearly limitless.
Here's an example of quad H9s combining Octave>Wah>Delay>Reverb
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Here is the basic flow chart for my guitar rig. MIDI control of presets would be even better, but more complicated. Playing live I use fairly simple combinations of effects and only have to tap two or three switches between songs to change the chain of multiple effects. Typical multiple effects would be Wah>Modulation>Delay>Reverb.
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Pedal steel-like bends that aren't confined to any genre. Envelope control over pitch bend.
Change Pitch A, Pitch B, and Mod Depth together for effects ranging from subtle doubling to extreme pitch sweeps. To land at unison, match the negative pitch shifter values to the positive Mod Depth value. Adjust Mod Sens to your playing style, and desired frequency of effect. [Inspired by an ADR III FX module]
I added some optional EXP PED control to fade in dotted 1/8 against 1/4 note echoes.
(It's possible to "shuffle" the shifted repeats with active expression pedal movements.)
Delay A Heel: NO DLY
Delay B Heel: NO DLY
Feedback Heel: 0
Delay A Toe: DOTTED 1/8
Delay B Toe: 1/4
Feedback Toe: 50
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silver_mica wrote:
I don’t know exactly what John Schofield uses, but this reminded me of his sound – when used with the expression pedal. The attached image shows a screen capture of my H910 H949 preset.
I couldn’t figure out how to embed an image yesterday – the embedded image below is the same image file in the attachment of my last post above. The default settings provide a light amount of detuning as shown below – upon turn-on and with no expression pedal connected these are the default settings.
The expression pedal will adjust the mix from 0 to 49 while, at the same time, detuning Pitch A and Pitch B more as the mix level increases.
Expression Pedal at 0 (heal): Mix= 0, Pitch A=1.000 & Pitch B=1.000
Expression Pedal at 100 (toe): Mix=49, Pitch A=1.021 & Pitch B=0.981
Here is the screen capture (default settings):
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As for MXR Pitch Transposer effects, the H910 H949 will get you close. The A & B sides (optional) are set to identical values. You did say “without glitch or artifacts”, so I left it at MODERN.
You may prefer an earlier Harmonizer model (TYPE). It’s still going to get harsh, as the progressive octaves slam into the ceiling. Adjust MIX and/or FEEDBACK (A/B), or maybe some downstream EQ.
For some good, clean fun, map an expression pedal to PITCH A & B: Heel to 2.000; Toe to 0.500. Tape stop slowdown & acceleration effects. The REPEAT switch captures some glitchiness. Releasing the switch recycles it all through the FEEDBACK loop(s).
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