Insert Mode Program. Series Routing. Program MIX 50%. PolySynth into PolySynth. Programmed for stereo use. Not too synth-y, for a polyphonic synth. Works well clean or dirty, chords or single note lines; harmonics or arpeggios.
Acts on any sustained note. SIFT-ed through an octave up, building to 2 octaves up. The sync’ed Pitch Wheel Whammy action of EXP1 shifts the effect up to the 2nd octave and a 3rd higher octave. EXP1 also sweeps PolySynth 1 & 2 Resonance and LFO Rate.
EXP2 (optional) is mapped to HotKnob [P] (see below), and also tweaks the LFO Amounts in both PolySynths. It’s another option for pitch-shifting, down to lower octaves, with all of the PolySynth Shift parameters locked together. Saved at Heel.
You want to really test out the SIFT technology, try using both expression pedals at the same time. Amazing tracking.
All three HotKnobs are pre-programmed for making fine adjustments to several of the effects. Customize the sound, using these variations:
* [P] HotKnob (CW) – adjusts all Shift 1,2, 3 simultaneously for both PolySynth instances. Unique “feedback” effects using consonant intervals or unexpected intervals, not found in the analog(ue) realm. [default = 0]
* [A] HotKnob (CCW) – adjusts Shape 1,2,3 for PolySynth1. [default = 100].
* [B] HotKnob (CCW) – adjusts Shape 1,2,3 for PolySynth 2. [default = 100].
Preset [A] & [B] HotKnobs provide for feedback timbre changes in either or both PolySynth instances.
Other options include momentary or latching FREEZE options [Release times set under Main Params] in either / both PolySynths. They are in Series routing, so there are a lot of combinations here. HS1 changes the LFO Dest to Cutoff, and the LFO Shape to Ramp Down, in both PolySynths.
See the Program Notes for more information on the PERFORM switch mappings.
I am on vacation right now, but I can’t wait to give this a try and I hope that this can also simulate a polyphonic feedback effect like the Freqout.
I really didn’t expect this to turn out better than my earlier attempts at natural feedback, but it was a pleasant surprise. My 1st happy accident with the new PolySynth algorithm.
In hindsight, the offset Attacks are the key elements here, and should have been mapped to the [P] HotKnob. Since the dual “feedback” components enter as automatic onsets, it makes more sense to make that behavior customizable.
The other half of that equation being the FREEZE options with adjustable Freeze Release times.
Instead, I focused this one on the smooth pitch-shifting & unusual Shift intervals, which also has its own charm. I can see a Version II or III of this type of Program coming soon to a PatchStorage near you.
First I have to say that it is definitely not your fault that I have my H90 in a position where I can not reach it. So I tried your preset without using any HotKnobs or things like that.
I tried it now just a few minutes with a Soldano Overdrive Sound for single notes and with a Clean Sound for Chords. My first impression is that in both cases the Feedback Sound sounds a little bit to much like a kind of synth sound in comparison to the Freqout which I love and hate at the same time. I also tried the Redux Version which seems to have the same problem. I appreciate your effort, but this seems to be not better or as good as the Freqout, but maybe I Just haven’t spend enough time with it. This is really just my personal totally subjective initial impression.
Here you can find links to audio files which show what I mean. I have recorded a distorted single note feedback and a clean chord feedback with your Feedback Stack and with the Freqout.
The H90 single note feedback sounds to my ears to much like a synth. The H90 clean feedback sounds nice and not so artificial, but it sounds almost more like a reverb and the volume is very weak.
Single Note Freqout:
https://soundcloud.com/joachim-gartz/single-note-freqout?si=3baa05c57c9a46d5aaf9a16a45c4d54d&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
Single Note H90:
https://soundcloud.com/joachim-gartz/single-note-h90?si=1e2db3f1e81e4932b6748bb39450ca88&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
Clean Chord H90:
https://soundcloud.com/joachim-gartz/chord-clean-h90?si=0cbdc5c11fef4dd1ab5f904127f7050d&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
Clean Chord Freqout
https://soundcloud.com/joachim-gartz/chord-clean?si=fbb8ca66e3824953b3367fff70d4e99e&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
So if the goal was to simulate a kind of feedback for synth tones you probably nailed it. For guitar feedback I would say that this needs some more tweaking. I think the feedback tone maybe needs some more distortion and as overtone maybe not the octave, but the third. I used the third also on the Freqout for my comparison.
Thanks for your input. A few quick notes:
These Programs were never intended to be 1:1 replacements for any specialized hardware. Regarding the FreqOut, there is currently no single or pair of Eventide H90 algos that can cover the slow buildup, tone, nuances, harmonic structure, variations over time, distortion, and potentially infinite sustain of the feedback interaction between amp & pickup / mic over air.
I do encourage anyone who D/Ls my Programs to tweak them to their own setups and specific needs.
I put in the work, then add HotKnob, Hotswitch and expression pedal mapping to make that as easy as I possibly can. 100s of possible combinations, but even that won’t cover all of it.
If anything else falls outside of these Programs as uploaded, I have to leave that to the end user to make those adjustments on their own. Or better yet, show me an alternative Program that takes it to the next level.
OK, understood and thank you very much for all your contributions to the H90 platform. Can you give me a hint how to change the interval from octave to third and how to distort the tone a little bit more? Then I will try to bring this to the next level.
I think your Feedback Stack has the potential to be an absolute killer guitar feedback simulator. The problem is only that I have no experience in tweaking the H90, but at least I have found how to change the intervalls. So I have changed the intervall to +5 on one side. I have no idea why the +m3 or +M3 (minor or major third) doesn’t sound good because a lot of people use the minor third as their go to setting on the Freqout, but anyway. Have a listen to the attached file. I think it is far from perfect, but it is creates a usable Feedback on dirty Single Notes and on Clean Chords. I would highly appreciate if you as an experienced H90 tweaker have any more suggestions to really brings this to the next level. Your original feedback stack sounded a little bit to high for me, so I used in one part an ocatve down setting instead of octave up. What I like about the variation that I have made of your preset is that it seems to sound more like a sinus tone and not like a synth organ tone. Just give it a listen and tell me what you think.
One more thing: Would it be possible to freeze with the expression pedal the tone of stack 1 and stack 2 at the same time?
Attachment Feedback-Simulator-P5-65817bdfa4aca.pgm90.zip
A screenshot of the tweaked preset:
A screenshot of the tweaked preset.
I can not upload the jpg file. Sorry, maybe as a zip file…
Attachment Feedback-P5-65817d1fcd1b5.jpg.zip
To change all added intervals, simply dial the [P] HotKnob to 38 for a minor third (33 for a major third). You might want to manually dial up Shift parameters to +m3 in Preset B only, for a second harmonic effect. Another option would be to re-map the Shifts in Preset B from the [P] Hotknob to EXP1, and range all three from Uni to +m3.
There is no more room in this Program for added distortion. That would best be introduced by an external device. Before or after the H90 will effect both the “dry” and Program effects. It may be better to use the H90 Inserts for this. Either inserted before Preset A, between Preset A and Preset B, or after both.
Experiment with the best sounding insert position for you. While most end users have some kind of distortion / overdrive / fuzz in their effect chain, I never include Insert options as part of my Programs. My goal is to make them transferrable across as many setups as possible. And for many, distortion still has a firm hold in the analog domain.
Since the Program stacks two PolySynth instances in Series, use the FREEZE Performance parameter in PolySynth2 [Preset B]. That will FREEZE the entire signal chain, and set the Freeze Rel accordingly in the main parameters of Preset B.
Thank you!
This is a fun and interesting preset. I don’t have a freqout pedal to compare this to. But I think this is really cool. Thank you brock!