E520

Hyperion Stereo Effects Processor Demo Page

Page last updated: 11/14/19




Available with black or gray front panel. Final panel artwork may differ slightly.

Introducing the E520 Hyperion, a stereo effects processor

Kickstarter campaign launches on Nov. 15th and the KS page will activate on Nov. 1st. Estimated shipping: late May 2020.


AUDIO DEMOS

The following E520 demos are arrainged newest to oldest. These demos are updated weekly. Please check back for more recent examples.

Each demo lists information about the effects used, source material, and other details. If you have a specific demo request please message us at the contact info.


Time-Domain Effect Demos

Pitch Shifter: PVC flute in, multiple pitch-shifted/delayed flutes out. The first two loops are examples of the "Jon Hassell approach" with left+right pitches making a chord, the second two loops use the channels just for subtle spread, the second of them adding a bit of delay (otherwise the other three use zero delay.) Mix is set to 50/50 dry and wet, and feedback is zero except for the 4th segment, where it is high (maybe 80%).

Pitch Shifter: voice in, then pitch-shifted +400cents, then -300cents.

Looper: Source is lap steel guitar, play by Robert Rich (some reverb on original). Using the Looper with some subtle, then not so subtle pitch shifting (especially the very end).

Looper: Source is NI Una Corda (prepared Piano w/reverb). Recorded with 3x Resampling, then during playback manually down-shifting to slowest speed at the end.

Resampling Mini-Delay Delay. Source is NI Una Corda (prepared piano). Similar to the Looper example above, but using a 50Sec delay + Tape Mode with Wow/Flutter. Pitch changes via altering the Sample Rate.

Stereo Resampling Mini-Delay. Voice input, purposely over-the-top modulation.

Resampling Mini-Delay: E370 Saws. Tap Offset: 50%, Delay Time: 1.3x (synced), Warble: 12%, In/Out Mix 50/50

Deflector Shield: Digikat source. InMix: 50/50, Carrier: S/H, Feedback: 80% positive

Deflector Shield: 909 drum samples as source. Frequency Shift mode, 50/50 mixing, manual carrier adjustments

Stereo Reversing Delay, guitar/DI input. This one sets the delay to near 100% feedback, longest Length setting (around 6 sec) and fastest Time setting. Then I just gently strum the guitar open tuning and build up soft layers. Then I freeze the delay, set it to reverse, slow it down to half speed and play with the filter a bit, then slow it all the way down to 8th speed.

Stereo Reversing Delay, using male choir sample. Delay Time 1.5X, Resonance 12%, Left Feedback -50%, Right Feedback +80%

Stereo Reversing Delay, using voice as input. All parameters manually tweaked in real-time.

Shimmer Reverb, E370 in Cloud mode as input. 95% Reverb tail (about 35 seconds), Attack 70%, L/R on Tweak (small pitch shifts), 50% positive Feedback, Wet/Dry at 30%

E

Shimmer Reverb: 1 Dry chord followed by 5 successive settings of different options (30% Dry/Wet ratio):

  • Chord 2 - Rvb 80%, Tweek +/- detuning, FB 0%
  • Chord 3 - Rvb 90%, Tweek +/- detuning, FB 50% positive
  • Chord 4 - Rvb 85%, Octave Up L/R, FB 50% positive
  • Chord 5 - Rvb 90%, Octave Down L/R, FB 50% positive
  • Chord 6 - Rvb 90%, Octave Down Left, Octave Up Right, FB 50% positive

Shimmer Reverb: 50sec tail, Octave Up in Left reflection, Octave Down in Right reflection, Feedback 25% positive

Shimmer Reverb: each track cranks up the Shimmer effect


Frequency-Domain/Spectral Effect Demos

Spectral Time Machine, Drum loop in. manually shifting both speed and pitch. Sounds like an old steam locomotive?

Spectral Time Machine, voice input, manually shifting both speed and pitch..

Spectral Crusher, Conga samples. Compress mode, manual Pitch Shift, Phase Blur 64%, Phase Threshold 24%.

Spectral Crusher, Cello samples. Compress mode, Pitch Shift -1200cents, Phase Blur 68%, Threshold 28%, no feedback,

Spectral Crusher, 808 samples. Peak Hold mode, manual Pitch Shift, Phase Blur 70%, Phase Threshold 25%.

Spectral Crusher, Digikat source. Mode: FreqCrush, manual Pitch Shifting, Phase Blur: 30%, Range: 2400cents, Quantize: On, Feedback 80% positive, 60% Wet/Dry mix

Spectral Crusher, Digikat source. Mode: Scintl8, manual Pitch Shifting, Phase Blur: 20%, Amplitude: 40%, BW: 50%, Feedback 50% positive, Various Wet/Dry mixing, CV Freeze ON

Spectral Delay, Mono flute (40sec lead-in) then 3 flutes emerage, pitch shifted -700cents/+300cents. No delay, Feedback 10% positive. No Phase Blur.

Spectral Delay, E370 2x 2-OP FM mode. Quantized pitch shifting, manual tuning. Feedback 10% positive, Left is 50% Wet/Dry, Right is 100%.

Spectral Delay, E370 2x Cloud Mode, ROM B. Manual adjustment on all parameters.

Spectral Vocoder with voice modulation, incoming CVs create havoc at the end.

Spectral Vocoder with non-voice modulation (Digikat dub beats) and VCO carrier (Plaits)

  • Number of bands: 64
  • Sibilance: 42%
  • Tilt: -0.82
  • Gain: 0.90
  • Feedback: 0%, 100% Wet/Dry mixing

Spectral Crusher using 808 drum samples being manually pitch-shifted

  • Mode: Peak Hold
  • Quantize: 1200 cents
  • Phase Blur: 70%
  • Phase Threshold: 25%
  • Feedback: 75% positive, 50/50 Wet/Dry mixing

Multi-Effect Demos

Spectral Vocoder "triple tracked": Left is 32 bands, Right is 512 bands

  • Bass (Dry)
  • High String (Shimmer)
  • Synth Pluck (Spectral Delay)
  • Lead Pluck (Shimmer)
  • Bells (Reversing Delay + Shimmer)
  • Kick+Snare (Spectral Delay)
  • Percussion (Resampling Delay)
  • Perc/Toms (Phaser)