Wish list from users for future updates of the H90

Eventide Staff respond all the time. I would suggest looking at the H9000. It would meet your needs much better. Especially for vocal effects/enhancements. Of course you get to pay for that added functionality.😉

I’m not sure why there isn’t a separate choice for the H90 in the “product filter” section in the Preset Sharing area.

Plasmajet wrote:

Dear Eventide fans and Eventide stuff, the H90 is really an excellent effect device and I am very happy that I bought it. It is advertised as a guitar effect pedal, but it is so much more. I use it for example with synthesizers and as an outboard effect device for the DAW. I think there are many others who also use the H90 not only with a guitar.</span> I don’t know exactly if there is already such a post here in the forum (I didn’t find any), but I thought that we Eventide users here might create a wish list for future updates. It would be nice if Eventide staff would stop by here from time to time and maybe comment on some of the ideas from users. If then wishes actually find their way into future updates, that would be great! I’ll just start: An autotune effect specifically for vocals A vocoder with built-in carrier signal as well as the possibility to feed in the carrier. A modern, natural reverb with many settings. Many of the effects integrated so far come from the H9, which is limited to 10 parameters. Parameter expansion for some effects. It would be great to have the possibility to integrate a third algorithm under the condition that you deactivate spillover. For the Factor pedals and the H9 there is a separate area on the Eventide page where users can upload their presets. That would also be very fine for the H90! Translated from KI because my English isnt very good.

Thanks for your suggestions! We do consider new features and algorithm ideas from users who post here, so feel free to comment with any other ideas you have.

Have you experimented with SP2016 Reverb? This can certainly be a modern and natural reverb. If that doesn’t suit you, can you be more specific with what you are looking for?

Can you elaborate on “Parameter expansion for some effects”? We did add parameters to some of the H9 algorithms, are you requesting more of these? Any algorithms/parameters in particular?

I can log the rest of the requests you have made.

Randomizer in the H90 App. With a few different options such as randomize all – also include options for less dramatic results. For example just randomize parameters on Preset A and ignore B.

Expose the send / return / Mix values to the quick knobs.

Please separate the looper ‘record/dub speed’ and ‘playback speed’.

And snap the looper’s resolution back to the preset saved posiiton (eg, smooth, chromatic, etc) after initial recording has ended.

I would love to see new analog modeled filter and wah algorithms.

I think the old ones are a bit lacking in soundquality (especially with high resonance), and the controls are a bit confusing and limited due to the multiple functions per knob.

Separate resonance and frequency knobs makes much more sense to me than the intensity knob on the modfilter algorithm.

I am also wondering if it is a possibility to use the SIFT technology to pitchtrack parameters like cutoff frequency and resonance.

Pitchtracked resonator with 6 voices?

And here are some other ideas I have been thinking about:

-Some more subtle synth algorithms in the vein of Electro Harmonix .9 series and the ensemble mode on Strymon Cloudburst.

-Another BBD delay, where each succesive repeat is further degraded and with a more conventional feedback parameter that can go into selfoscillation instead of separating number of repeats and selfoscillation.

– New modulation algorithms building on the Head Space and Bouqet Delay.

-A tape saturation with tape flanging/doubling/wow&flutter algorithm.

-Even though the Rotary algorithm is pretty good and loved by people like Josh Smith I think it could be improved upon

-A wavefolder, possibly even a wavetable based wavefolder with sequencer/lfo/dynamcis control for the wavetable morphing (would be great for bass and synths)

-An updated band delay with more delay lines and analog modeled filters with more options for tweaking individual bands.

-Granular effects/micro looping/Glitch effects (think Hologram Microcosm/Chase bliss)

-A Über delay with diffusion, phasing/chorus/flanging, pitchshift, Lo-fi, tape/bbd/digital, and saturation. parallell paths with different effects?

-A Channel strip suited for vocals with EQ, compressor, saturation, delay and reverb.

-A guitar one stop multialgorithm with a dumbed down weedwacker, tremolo/harmonic trem, bbd/tape echo and spring/plate reverb.

Thanks all for your suggestions, we’re taking notes!

Just wanted to echo the requests for a granular delay/micro looper & more synthesizer options! I feel like the H90’s pitch tracking and processing power would work really well for those.

Plasmajet wrote:

For the reverb algorithms, it would be good if you could choose between early reflections and reverb for each one.

Yes, I know that the SP2016 is popular with many people. I myself find the reverb quite unnatural. It’s probably also a matter of taste. But having an alternative would be good. So far Modechoreverb is my favorite reverb.

SP2016 can be very flexible but when I first used it I found a small learning curve, patience, and a careful ear were required to dial in the algorithm to get what I wanted. Everyone’s tastes are different, but my general intuitions are that as as Position goes up Diffusion goes slightly down, and as Decay goes up Position needs to go up as well. Don’t be afraid to crank the low and high filters to more extreme values for frequency and gain than you’d think you need to, especially for larger decays – they can keep the signal from getting too muddy or sibilant, and the high filter in particular is important for dialing in that top end (often referred to as “air” or “brilliance” by producers). The algorithm can be strong, I find getting a natural setting requires a pre-delay of at least 15-20 ms. I really like the stereo room algorithm, but if you’re in mono vintage plate and vintage stereo can sound warm and sweet.

As you say, reverb is very much so a matter of taste. One person’s natural is another’s tinny or sparse. I have been getting lots of mileage out of Blackhole recently, set for a more classic 80s style reverb rather than the galactic-sized tones it is more commonly used for – Mix below 25, Gravity between 1 and 10, Size around 50, Pre Delay between 15 and 40 ms, Mod Depth around 30, Mod Rate around 40, Feedback set below 15, Resonance around 40, Low and High to taste (almost always cutting both of them; my ear tends to prefer Low around -25 and High around -45). Backing Size off to around 30 and increasing the Mod Depth a little higher can be used for an even smaller space with a lovely bloom to its attack, and setting Gravity between -10 and -5 then setting Feedback to 0 can also get a wonderfully lush attack that lets your tone float over a short but very sweet and dense tail.

Do you have a preferred patch or general settings of Modechoverb that you enjoy? That would give us some idea of what you think is “natural” and we can guide you to some presets from there.

Can you also clarify what you mean by “choosing between early reflections and reverb”? In algorithms that contain them, Early Reflections are part of the Reverb, not a separate thing – perhaps you mean being able to dial in both early and late reflections independently? Reverb development is more dark art than pure science, and over the years many terms have gotten cross-wired. Some of our algorithms – including SP2016 and ModEchoVerb – offer you some level of control over early reflections, but I want to make sure we’re talking about the same thing before giving you a few pointers there. Another option is to use MicroPitch, H910/H949, or HeadSpace to generate more concrete reflections, then use that to feed a bigger reverb algorithm with increased pre delay so the early reflections have time to stand on their own before the bigger late reverb tail kicks in.

Back on topic:  We can set aside the control exotica mentioned earlier in similar threads (assignable LFOs, envelopes / followers, step sequencers …)

Let’s start fairly simply:  An A/B Performance Parameter, triggered by (any) footswitch, controlling the current EXP pedal(s) mapping, or even to the [P] [A] HotKnob assignments..  Momentary / toggle / latching (H-T; T-H).  Wide range, variable rise / fall times a must.  Bonus points for EXP / LIN / LOG curves.

A few ideas :

– I’d love to have an extra option for the SPRING algo, where we could generate a “pop” similar to the reverb tanks of yore you could kick. It could be a simple “noise” that would excite the reverb and make that characteristic booming wet sound.

– An extra option for the FLANGER and / or the INSTANT FLANGER to self oscillate à la A/DA or Boss BF1. I haven’t found a way to do it with the current state of the algos, maybe I haven’t given them a proper go though.

– A new modulation with the option to control the shape of the LFO and control it in different ways : to have a square “ascent” and a “seesaw” descent for example, or any other combination. This could be implemented as extra parameters for the new INSTANT PHASER / FLANGER.

– a stutter / bitcrusher algo, with tons of parameters to deliciously destroy our carefully crafted tones.

– I too would love a voice / choir generator !

Please import the Dynamic Distortion 2 algorithm from Eclipse unit or create a similar algo with natural feedback emulation. It sounds much more natural than any other feedbacker and brings life to modelers/profilers amp emulation.

Plasmajet wrote:

 Thank you very much for the explanations and assistance! I will give the SP2016 reverb another chance and experiment a bit. Yes, exactly, I mean the possibility to dial in both early and late reflections independently. Sorry, maybe something went wrong in the translation into English. I would also find it good if you could directly and separately influence the early reflections in algorithms like Hall and Dualverb. I can’t exactly describe why I like the ModEchoVerb best so far. I find the early reflections very nice and how they change with the size of the room. But here too, a detailed setting option would be advantageous. At least that you can adjust the volume of the early reflections. I have also thought about using a pre-delay. However, you also „waste“ an algorithm with that.

Of course, happy to help out. Enjoy your sonic exploration, and remember that it’s half the fun of finally getting to your new favorite tones. As one of my favorite Rush tunes says – the point of a journey is not to arrive.

It’s not an English translation thing, it’s that so many of the parameter terms around reverb are slightly in conflict with the same terminology from room acoustics and signal processing so it’s just a matter of us talking through things to make sure we mean the same thing, so I can better help you out.

Reverb algorithms can be tricky beasts, a lot of the time reverb designers will tune both early and late reflections VERY carefully because it’s easy to shoot yourself in the foot and get something that sounds much much too buzzy and resonant, or going in the other direction it can sound too sparse and not very realistic. All reflections in the algorithm are a tap dance of getting each delay time carefully constructed in relation to all others. This to say, I don’t want you to end up with an algorithm that is difficult to tune and get sounding smooth/musical, as getting that balance and blend right is complicated and a lot of careful work.

Definitely spend more time with SP2016, I think once you wrap your head around how the parameters are linked you will get a LOT more mileage out of it. And sure it requires two algorithms to run an early reflections and full reverb algorithm, but I think you’ll be surprised at just how many classes of sounds you can get with that potent pairing.

A few additional notes, off the top of my head:

• You don’t need a lot of delays and feedback in an early reflection algorithm. In room acoustics, the larger concert halls tend to have a late field kick in by about 75 ms at the latest, though that tends to be for bigger concert halls measuring unamplified (“classical”) ensembles like string quartets and orchestras.
  • Hence, I really think you can get a lot of mileage out of MicroPitch or Headspace for this task. A common trick is to start with Fibonacci numbers, keeping in mind you want the echoes (with feedback) to decay by the 50ish ms mark for a 2 second decay.
• UltraTap – I don’t know why I didn’t think of this one yesterday. It will work wonderfully as an Early Reflections machine.
• It seems like an odd beast for this task, but Blackhole is actually pretty good for early reflections. Small Size from 0-20, Inverse Gravity values closer to -30 to -50, low feedback, keep Mod Depth low (maybe around 5 or 10?). No pre delay, Feedback set to 10 or lower. I recommend you back the Low value off too, to prevent the reflections from turning in to mud.
• Dual verb can also work well, if you tune one algorithm to be pretty short and another to be much longer. Tune the first reverb so it’s a slight puff or bloom of attack, then the second reverb so it’s your long late and smooth decay.

Now that I’ve had the H90 for a while, I find that all of the feature requests I had in mind fall in the “nice to have” category. The only thing I find missing is the ability to name HotSwitches. Having multiple lists and programs for different setups, it’s sometimes hard to remember what each HS is programmed to do. I currently have a Google Sheets spreadsheet on my phone with all of the HS functions, but having an option to see it directly on the pedal would be great.

I know it’s already in the wishlist but I’ll really like to have an app for smartphone/tablet as soon as possible.

The back panel is crowded, what about if inserts for jacks were more spaced from each other?

I find that plugging a simple tap tempo pedal to set the time based effects is quite complicated, I’ll like to have an easier straigh-forward function for it in the global functions page.

Thank’s for your attention.

I would like the option to set the H90 for stereo or dual mono / or the ability to switch off an output to have just mono only

I usually run my pedalboard in mono, if I want to use it in stereo my H90 needs to be on the back row to allow me to plug into the second output.

I would like to have it permanently wired in stereo but a global setting to choose that only one output is used when needed.

Thanks

I’m new to Eventide, having purchased and received an H90 a few weeks ago. This would be a minor request, but I’d like to be able to rename the user lists instead of calling them 1,2,3, and 4. Maybe this is possible and I just don’t know how to do it. I’ve tried right clicking and looking at the menu in the upper left, but haven’t found a way to do it. I’m loving the unit and realize that it is capable of way more than I’m getting out of it currently.

I find the explanation in the manual for Hot Switches to be lacking a bit. Are there any good in depth tutorials available? As an example, I’m trying to program hot switch 1 for the weedwacker to turn on the Stage 2 drive. When I’ve managed to program that, the pedal also changes the mix from 51 to 100 (which is not what I intend) while turning on the stage 2 drive. I haven’t seen any excellent tutorials on Hot Switches on YouTube or the Eventide Website.

Lastly I know that in depth user manuals aren’t sexy, but with a unit this powerful and complex, I think adding more in depth or detailed video tutorials would be a big plus. I’ve used HX Stomps, Kempers, and other multi effects pedals, and am familiar with programming midi functionality, but this has been the hardest pedal for me to wrap my head around. Thank you!

Maybe someone has already asked for this, but then let me emphasize this. Otherwise here is a very important request:

Not being able to create a preset with two individual algorithms on a $1200 hardware is a mystery to me.

Why can’t I just simply select two algorithms and create a preset with them?

Why do I have to choose a preset hopefully containing them both.

And what if I would like to create a preset with two algorithms of the same type? Let’s say two distortions.

This is currently not possible. Could you make this possible, please?

As far as I have understood (and I have also found no other way), I can only SEARCH for a preset that already contains the two algorithms that I would like to have.
Okay, let’s say I would like to create a preset containing the WeedWacker and the Sculpt algorithm.

How would I do this?

Okay, not that you get me wrong. I would like to freely combine two algorithms in one preset. Not two presets, A and B.
Maybe I would like to add another preset with two freely chosen algorithms like the Chorus and the RingMod for example in the B slot.

How is this possible?

Another very minor wish list item: having another option for the tuner that gives a left-center-right visual rather than just cents. I’m still new to this unit so it may be there and I just haven’t seen it. Also, it would be nice to have this available in performance mode.

Thanks for even entertaining suggestions!

May I go to bat for PAN CONTROL! Even if just for the phasers.

The best part of a Bi-phase is two slow phasers sweeping in stereo parallel at slightly different rates.

If they could do it in the Seventies, we should be able to do it fifty years later.

Also – if the User 1 list is uneditable, rename it Factory

It’ll spare us noobs some grief

PEIPUNK wrote:

… May I go to bat for PAN CONTROL! Even if just for the phasers. The best part of a Bi-phase is two slow phasers sweeping in stereo parallel at slightly different rates …

I’m with you on the Pan control; probably at the Program level with Parallel routings.  In Series, you can pull off Balance-type.control.

I just wanted to add that you can currently pull off that Phaser trick.  I just uploaded something virtually identical, except with 2 Chorus instances in parallel.

It’s a little more work, but I’ve gone down the rabbit hole lately, using the (P)rogram HotKnob as a blender between parallel effects.  Simple, but versatile.

I think you guys have done a great job on the Weedwacker and Fuzz algorithms. Maybe some additional drives could be added similar to a Nobel’s Overdrive, Timmy, KOT, Klon, and the other usual suspects. I would second the copy/paste comment above. It would be nice to just drag and drop an algorithm into a program, whether creating from scratch or editing.

PEIPUNK wrote:

May I go to bat for PAN CONTROL! .

Pan would be great! I don’t know if it would be best at program or algorithm level, but definetely +1 on this.

Another suggestion from me:

Could a CC parameter be assigned to control expression pedal sweep from an external controller?
<span style=”font-size: inherit;”>
I have a Morningstar midi controller and if I attach an expression pedal to that, I can only control one ‘knob’ on the H90 via expression over midi, as opposed to morphing between 2 different sounds if attached to the H90 itself.</span>

Thanks

Dear tbskoglund, I tryied to catch your suggestion…

__________________________________________________________________

“There is a global option for tap tempo. This will make the controller always adjust the System Tempo BPM. You just need to turn Tempo Sync on for whatever preset you want to sync to this and then it will automatically follow the tempo.

https://cdn.eventideaudio.com/manuals/h90/1.5.2/content/tempo-menu.html&#8221;

___________________________________________________________________

…but it seems it’s not working, I mean it’s me for sure. I’m new to Eventide echosystem and I’m struggling to catch the way things must be done.

I’ll try to explain what’s happening here: I have a budget tap tempo footswitch (the kind of a sustain pedal for keyboards), I imagined out I could stick it in the exp/ctl jack and simply tap it to set the tempo of a program (as I usually ever done previously with my devices). I thought it just needed to enable the H90 to do it, but seems things are a lot more complicated than that.I also think maybe it’s not possible to do the thing because of the tap pedal itself, which has to be a midi controller instead.

Don’t know if I’m totaly wrong. Anyway I’ll like to know the procedure for enabling a tap tempo fs, whathever it is,  by an external footswitch right from the scratch, and probably to get which is the right tap fs to use if there is any.

By the way. that’s why I asked for a more straight forward solution in my wishlist…

Thank you a lot!!!

Dear tbskoglund, I succeeded! Thanks a lot, it wasn’t easy to get there at first.

Love you guys!

Is there a way to stop getting notifications/emails (unfollow) for specific threads on this forum?

Thanks for any help?

Sorry I found it!

Oil Can Delay

H9 Oil Can Delay Settings?

User Brock made a faux/not quite accurate oil can delay from the Mod Delay algorithm for the H9 several years ago but I think it deserves its own dedicated algorithm on the H90.

+1 for a Feedback algorithm. Dynamic Distortion 2 would be fine but I am also good with a more “effecty” algorithm in he vein of the Freqout.

Not sure how this would work but a really basic looper mode would be great.

Something similar to the timeline / lvx / echosystem, that can be turned on at any time in addition to the program that is loaded and without using up a preset slot, no parameters would really be needed just play / rec / stop / undo

<span style=”font-size: inherit;”> </span>

…the ability to put insert 2 *before* insert 1 (without re-wiring patch cables).

…the ability to tempo sync modulation rates.

Is it possible to add some shortcuts in H90 Control? At least Ctrl Z to undo the last change, space to bypass selected preset etc? It works in Line 6 HX Edit and it would be extremely comfortable if it worked in H90 Control too.

Hello,
I would like to know if it was possible to create a graphic or parametric equalizer to insert it into the loop of my guitar amp in the futur update ?

Thank you very in advance.

fiddlercrabseason wrote:

…the ability to put insert 2 *before* insert 1 (without re-wiring patch cables).

…another instance where I’d like to be able to have insert 2 before insert 1…

global lfo and envelope follower

to modulate any fx parameters

hey eventide

it would be great if the harmoniser algorithims had a pentatonic scale option! Could this please be included in the next update

Minor pentatonic or major pentatonic, either would work, both options would be ideal.

This would really widen the application of the harmoniser stuff.

I’d welcome an option to make the tuner display larger.

for new algorithms, I’d love a granular delay

I’m using the H90 on guitar and vocals and it’s amazing!

I would really love a pitch shifter with modern formant control, (and perhaps some subtle adjustable pitch correction.) something better than Roland’s VT-3, as in high fidelity modern independent formant and pitch control.

I’d also love a vocoder!

And / Or a vocoding pitch shifter (like that receives chords via midi or audio and just shifts my voice to the keyboard or guitar voicing. A mix control would also be very helpful with this effect)

A high fidelity “real time” granular time stretcher

Not a new request but adding it here: The ability to continuously control the global volume across all programmes by expression pedal (midi preferably) without the programme defaulting to the preset volume. The H9 had this capability but was lost on when implementing on the H90.

I would love to be able to sweep the position of both inserts with exp pedal, CV or MIDI. Ideally with some control over crossfading.

• I also vote for the request mentioning natural reverb above. I don’t like results I get with h90, “digital” sound is too apparent.
• However this might be due to the nature (frequencies) of my instrument (saxophone), so my ask would be actually add more source types to the h90 (currently there are I think Guitar, Bass guitar, Lead, and Sub ). Maybe add woodwinds, brass, vocal source types would make difference?
• I have also noticed that there is problem with sound levels for different algorithms, in the way it overloads amplification in one algo but it is ok for other. Again I’m not sure if for guitars the same problem exists, but with saxophone there is need to spend hours to level those algorithms properly.

honeybrew wrote:

• I also vote for the request mentioning natural reverb above. I don’t like results I get with h90, “digital” sound is too apparent.
• However this might be due to the nature (frequencies) of my instrument (saxophone), so my ask would be actually add more source types to the h90 (currently there are I think Guitar, Bass guitar, Lead, and Sub ). Maybe add woodwinds, brass, vocal source types would make difference?
• I have also noticed that there is problem with sound levels for different algorithms, in the way it overloads amplification in one algo but it is ok for other. Again I’m not sure if for guitars the same problem exists, but with saxophone there is need to spend hours to level those algorithms properly.

In addition to everything I’ve said in this thread, make sure you’re using larger sizes in your reverbs. Reduce decay or feedback controls to help compensate for the increased decay time from larger reverb sizes.

I use my Strymon Iridium as a stereo insert for H90 and my guitar goes into input 1. So I can ran algos in front of the Iridium or after how ever I like. Super cool. But I need the insert to be always ON while I list programs.

• I think you should keep the insert state for all programs as a global setting. Let it stay as it is (on or off) at least somewhere on a chain even if the routing is changing from the parallel to the serial and wise versa.
• And I should be able to choose somehow in the settings will the insert will be muted when I turn the program off or not.

I would also love to be able to alter the colors of all the LEDs. (Buttons and knob lights) Like the way we can swap skins in ableton. Colors tend to really affect how inspired I feel about a pedal. The pedal sounds so amazing, and it would be even cooler if  we had pinks, purples, turqoise, sea foam, and others. The red and green lights evoke a Christmas vibe which doesn’t always appeal to my mood. Like maybe we can just choose the color of each light in deferent modes, like with a continuous hue cycler on a knob, in the preferences section, or if that seems like too much, then even a few different options, like a dark mode of blues and purples, a surf mode with pinks and aquas, and maybe vintage mode of warm ambers and sapphires. some color options beyond Christmas mode 🙂

Two things.

1. <span style=”font-size: inherit;”>A chorus that works along the same principles as the Roland Dimension D / Boss DC-2w, but more tweakable. </span>
2. A feedback generating effect along the lines of the Digitech Freqout, and if you’re doing that a feedback eliminating algorithm would be good as well.

milesspilsbury wrote:

hey eventide it would be great if the harmoniser algorithims had a pentatonic scale option! Could this please be included in the next update Minor pentatonic or major pentatonic, either would work, both options would be ideal. This would really widen the application of the harmoniser stuff.

add Harmonic Minor to this too please

NoneMoreBlack wrote:

A chorus that works along the same principles as the Roland Dimension D / Boss DC-2w, but more tweakable

I recommend you spend some time with Tricerachorus. Start with the CEO and CFO presets, and go from there. I recommend you experiment with Chorale and Detune.

If I can add a wish, I would love a vibe algorithm based on the Yamaha RA-200. This stuff is all over Pink Floyd, a unique flavour to the classic Univibe, never seen with the competition. And I would kill for more EQ algorithms, too.

While I am here – Good job on the unit; I just bought it and can’t stop exploring

I would love to see a Neve style pre amp/eq channel strip thing to get that Nile Rodgers direct in tone.

In addition to requesting more EQ options such as graphic eq, I’d love to see an option to be able to separate the presets when looping to a switcher system. I liked the H90 so much that I’ve purchased a second one. I’d love to be able to assign 4 separate presets from the H90s to 4 loops in a switcher to allow changing up the order of presets in a path. I can run the two units as stereo loops, but it would be nice to be able to send Presets 1 and 2 separately from the outputs the way some pedals (such as the Wampler Gearbox or Paisley Deluxe) allow. This may be possible already and I’m just ignorant on the setup. I’m still waiting on my switcher system to arrive so I haven’t attempted anything yet.

fiddlercrabseason wrote:

…the ability to tempo sync modulation rates.

Sorry I let this one fall through the cracks, I knew I had read it and just recalled I never responds. If you hit the Presets button until the algorithm you want to tempo sync is selected, then press both the Presets and Parameters buttons at the same time, the time-based parameters should become tempo sync-able.

Great! I had a feeling it might be my own ignorance that was holding me back. I hadn’t explored the dual routing yet. Thank you to the developers for such a powerful little piece of gear.

Bluetooth before anything else please. Dragging my laptop out to make changes is ridiculous.
It’s almost been a year.
Seriously.

Every new update that doesn’t have it, every new feature/algorithm becomes more and more disappointing.

Or at least let us know why it will never have it so we can move on.
What a disappointment.

Another request from me: I’m not sure if hardware doable. It would be lit if EXP/CTL could accept the MIDI.

A Step filter/slicer please!!

I’m a bass and guitar player in an electronic project and I currently rely on a Boss SL-20 and a PH-3 (the latter sadly without midi in) to give a rhythmic vibe to the performance, but it would be a blast to have something like that – of course with a pinch of Eventide magic – in the H-90 to sync to the master clock….

🙏Thanks!!!!!!😁

I would like to see expansion in  Envelope filter options, more dedicated bass octavers, and especially more synth options. A full function multi-oscillator synth with multiple selectable waveforms, ASDR envelopes and selectable filter types for eachwould be welcome.  These are areas often get a couple of options (or none) in many effects processors. More than enough reverbs, delays, distortions, etc.far and wide. These areas I mentioned need to brought up to par.

Thanks!

Thehook wrote:

I would like to see expansion in Envelope filter options, more dedicated bass octavers, and especially more synth options. A full function multi-oscillator synth with multiple selectable waveforms, ASDR envelopes and selectable filter types for eachwould be welcome. These are areas often get a couple of options (or none) in many effects processors. More than enough reverbs, delays, distortions, etc.far and wide. These areas I mentioned need to brought up to par. Thanks!

I absolutely love the idea. Thinking about what is possible to do with the C4 or Future Impact pedals and how much the H90 could do in that area…

I love the versatility of WeedWacker, it’s great for vintage tones.

I’d personally request more modern distortion that doesn’t get too crumbly or digital sounding… or at least I haven’t found one that suits my need?

cabinet simulator for wet signal only

I only been working with the H90 for a couple of days. Already made some nice programs /presets, bass and synth patches. Its limited in the synth dept. but I made couple of usuable synth bass and other synth patches. Certainly an improvement on what it comes with.. I did discover I needed to switch to line input for my active bass, no clipping and synth works better. One thing I have noticed is that the unit seems to be too bright. Bass guitar straight thru sounds like too much treble. What the H90 would benefit from is a Global eq (like on line 6 HX devices).

It would be cool to have the manual built into the H90 control software so you can hover over parameters and see the description or something similar

Also it would be cool to see a few more routing options: being able to set mono/stereo regardless of connected cables and I think it could be cool to have the algorithms run in series with a dry bypass that goes around both of them (maybe even with a dry/wet control) so you can have one algorithm effect only the wet output of the previous algorithm

A real wishlist item would be EQ in the global settings for each algorithm so you can have EQ control over everything

Eventide Grade > granular effects,  granular delays.

After working a bit  more with this unit, One thing I would like to change…make the source choice with the option to save per preset, not just global. I use the H90 primarily with bass. When using the synth algos, some sound and track better on lead, some bass ,some sub. It would be so much more convenient to store them with the program or better yet set a note range for the source ( source audio does this with the C4) (Panda midi Future Impact sets an input source and octave range up to 4 octaves). A couple of examples of how to do it different.

It would be nice to have at least a basic bass and treble EQ in all algos too ( possibly in addition to a global EQ?)

Key tracking on the filters for synth algos would be nice too.

First, I am truly blown away by the H90. Presently owning (for years) a handful of Eventide pedals, I thought I might find the H90 as a bit redundant. However, my experience is that it really is a step up, and that it gels together in a “sum of parts equals more then the parts” way.

Not to mention, my faith in how Eventide supports their products made that “OMG that pedal costs a lot” experience, continue to be purchase moment. (I have a list of companies that I will not purchase another item from, due to their lack/type of support).

Second, as a suggestion, that would make my user experience of the H90, a little better: would be to, have an icon on the main window (program) that indicates the insert routing.

(I have a Empress Effects Zoia as an insert. The two together are scary. That is even before I start running out midi cc from the Zoia. I can not find my type A midi breakout adaptors).

It would also be useful, to have a chart of signal flow per algorithm. My experience suggests that some algorithms stay stereo through the inserts, and other sum. Since this is only my second day with the H90, I could be missing something.

Again thank you Eventide.

Yeah it truly is an amazing pedal 🙂 as it stands currently I believe the routing saves with the program. if you want to see the signal flow, just press routing. there you can press and turn the hot knobs to alter the routing of any program to your liking.

AndersNils wrote:

It would be cool to have the manual built into the H90 control software so you can hover over parameters and see the description or something similar Also it would be cool to see a few more routing options: being able to set mono/stereo regardless of connected cables and I think it could be cool to have the algorithms run in series with a dry bypass that goes around both of them (maybe even with a dry/wet control) so you can have one algorithm effect only the wet output of the previous algorithm A real wishlist item would be EQ in the global settings for each algorithm so you can have EQ control over everything

Things I’ve learned:

– You can click the […] and select “view documentation” for each algo to quickly pull it up in a browser

– There is a wet/dry mix in each program’s general parameters which functions like I described

Plasmajet wrote:

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I’ll just start:
An autotune effect specifically for vocals
A vocoder with built-in carrier signal as well as the possibility to feed in the carrier.
A modern, natural reverb with many settings. Many of the effects integrated so far come from the H9, which is limited to 10 parameters.

As a vocalist I was initially having some difficulty finding reverbs I liked specifically on vocals on the H90. Like they sounded great on guitar and synths but they seemed a bit unnatural on vocals. But I’ve been digging in and exploring the algos and I have had excellent results with Blackhole (for more cathedral type stuff) and very good sounding results with plate, room and hall algorithms. There are a lot of parameters and they do different things. Also regarding the wish for control of early vs late reflections, the room algo has a knob that mixes between early and late reflections and this algo sounds very natural especially for shorter reverbs 🙂 hope that helps. I find when I add a little subtle modulation it makes the reverbs really shine.

hello. ,

I would love to be able tu use Hotsawz …I play bass guitar and I must admit that this algorythm is

totally unusable …or i may have missed something . I try to change input gain , output gain , etc …

but unless i play very slowly (and even like that , that’s not very good …) , that’s really sucks ..!!trackin is not

working .

H90 is really the best pedal i ever use (sound sand programmation) but hotsawz is just horrible and

i don’t understand how they could make it in the youtube vidéos …problem with bassguitar ?I (of course I select bass in

preferences).

Best regards

(JuanLukas)   I also am primarily a bassist. The Hotsawz does work with bass! I’ve made some great presets for synth bass ,horn,etc. It can be tricky sometimes but it is usable for sure, it will track with proper setup. First I have a  external compressor on my board to even the signal  before the H90. If you have an active bass I find switching the input to line works better. Certain settings on the source Lead vs bass vs sub work better with the type of patch you create with Hotsawz. I use a fretwrap to deaden and stray vibrations. Your playing position on the neck will affect tracking too ,best 5th fret and above.  I also use light bass strings (40-95) which track much better than overly thick strings. The final necessary ingredient is technique! Playing clean will limit any unexpected notes. However when set right I find it responds well to  slides and bends.

wedelich   Yes true, but not for all patches. My synth bass ones track well on bass or some better on sub . However I find some with higher harmonic content track and sound better set to lead even though played on bass. Thats why having source as part of the program would be much better than global setting. Also much better for those that play multiple instruments for easy switching.

Love the H90 here but I would love for there to be MIDI controls for the insert active/bypass (momentary) and insert send/return gains. I find myself having trouble programming my midi controller (mc6 pro) because I can only toggle the insert active/bypass when I want to send active/bypass states to the H90. Hopefully that’s a trivial task for the eventide team.

Hey, just want to say the more I use the H90 the more I love it. It’s so deep.
<3

That said, 2 more minor improvement ideas, incase anyone is reading this:

1. Give us an independent, mappable LFO that we can assign to any parameter in any effect, probably in parameter mapping, in the control source menu, give us an LFO and then add speed depth and waveform controls for that LFO to the parameters list. How powerful would it be to be able to control any parameter with an independent LFO?

2. Can you add a mix parameter and perhaps an LFO stereo offset to the Q-wah? I love the sound of the filter, especially the voc formant. It would be sick to be able to offset it 180 degrees between left and right. Or invert the LFO between left and right. And I think it is a pretty standard feature to have a wet dry mix on a filter. Makes it way more flexible to be able to mix that sound in against the dry signal.

Am I crazy? Or do these sound like good ideas?

Auto-detect for inputs/outputs 3 and 4.

the H90 automatically detects the inputs and outputs for 1/2, but it doesn’t seem to do so for the “loop” inputs and outputs.

It’s only a hassle in that I still wanted to use some programs I’ve created that have an insert, but it doesn’t work (the signal mutes, since there’s no return) when playing just the H90 and the insert is empty.

By no means mission critical, but nice to have.

An Amp Sim algo would be killer. Just some basic options would already be awesome. This would make the pedal for me 1) a full mobile solution (still would need some headphone preamp or mobile interface I guess) 2) an all in one backup solution for rig failure 3) gain sections of amps can provide tube type overdrives.

Would be great to just grab the pedal from the studio and do some noodling, exploring, writing, editing, etc. in the living room or out of the house (I’m currently on an island and brought too much studio gear with me to get to learn the H90 and make some music haha – yes, I’m a noob with this pedal, but heavy AxeFX3 user for a few years).

+ 1 on being able to name Hotswitches

apalazzolo wrote:

Hey Baldadi, It’s not designed for it, but the H90 will drive headphones with just a y adapter on the stereo outs and an increase in the P out gain (10 to 12dB is usually enough). Also, I have posted a program list on Patch Storage that tries to approximate a Fender blackface amp sim using the EQCompressor algo. I have used it for convenient noodling with the H90 alone and it might even save me in a pinch someday. I don’t pretend that it is as good as a real amp sim and I agree with your request/suggestion. But this imperfect option is available now.

Great stuff, I’ll check it out! I do have a Beyerdynamic 770 250 ohm so not sure if it can be driven sufficiently, but let’s see.

We do have this pristine effects machine and it defeats it’s purpose a little by having to compromise with an OK-ish amp-sound to complement it… nonetheless, great work, thx!

Just got an H90 today! I installed Control 1.7.1. on my desktop PC, and updated the unit to the latest firmware via USB with no problems.

Am I right in thinking that even though Bluetooth functionality is now available, I can’t use it with either of my PCs (because they are not supported yet), or my iPhone (because no app is available yet)?

Any ideas when these two things will roll out? I want to be able to control it as easily as my old H9.

A global Noise suppressor could be really appreciate :=).

Ah just read through this thread and saw some of the things I asked about in other posts like global LFOs.

Has anybody asked about the ability to name the hot switches? It would be nice to have something more descriptive than HS 2 above the switch to remind me what I assigned it to. Thanks!

INPUT GATE ON POLY SYNTH ALGO.🙏

I love the polysyth algo, BUT  it would be even better if you added an input gate. With guitar a gate makes the synth sounds work much better since it cuts out artifacts and makes the the note tails more realistic to a synth. Right now i have to use the eq/comp algo befor most of my synth sounds, which works, but really limits when it comes to using some of the other algos after the poly synth to create some truly epic sounds! 🙏🙏

Wow… so many wishes and ideas.

What I did not see…

It would be great to use the perfect tracking of H90 to create Midi-Notes/Events via Midi-Out in order to use every synth out there.

That would be another “wow” for the H90!

Infection wrote:

-Even though the Rotary algorithm is pretty good and loved by people like Josh Smith I think it could be improved upon.

yes please add acceleration time when switching from slow to fast or vice versa.

thank you and merry Christmas