Notify me when the product is in stock
Unfortunately, the device is currently out of stock. Please provide your contact details if you would like us to send you an email as soon as the product is back in stock.
The Everest II is a set of 12 reverb & delay combinations which can cover all the typical use cases for those effects (and can go way beyond those if needed). The pedal has individual controls for the delay and reverb sections, global stereo width control, and a "Hold" function. The Everest II can add beautiful echoes and reflections to your sound regardless of the instrument you play. Additionally, all the pedal's functions can be controlled via MIDI.
NB! The info on this page is based on firmware version 2.0.
The firmware v2.0 can be installed onto any Everest II pedal (starting with s/n 001), thus giving you access to all the functions described on this page. If your pedal has the older-style print, you can find a cheat sheet with the new functions' layout in the Downloads section.
The firmware v2.0 can be installed onto any Everest II pedal (starting with s/n 001), thus giving you access to all the functions described on this page. If your pedal has the older-style print, you can find a cheat sheet with the new functions' layout in the Downloads section.
Everest II: Key Features
- 12 combinations of reverb and delay.
- Independent controls for reverb and delay along with the option to use either effect in separation.
- 3 delay modes (Stereo, Reverse, Ping Pong) along with the option to use the filters and modulation without the delay.
- 1 second of max delay time in Stereo mode, 2 seconds in Ping Pong mode.
- Tap tempo with subdivisions.
- Hold Mode: infinite sustain gradually shifting into self-oscillation.
- Dual mono sound processing architecture and a full stereo signal path allowing for mono signal expansion.
- Universal external control input (CTRL) which accepts MIDI, passive controllers, expression pedals and analog triggers.
- "Favorite": the option to save and recall a preset from the device's memory.
- Firmware updates and fine-tuning via microUSB.
- Fine-tuning of each of the 12 algorithms via the config file.
- Fully analog dry signal path.
- Switchable tails in bypass.
- Kill Dry: the option to exclude the dry signal from the output in order to use the pedal in Wet-Dry-Wet configurations or external mixing setups.
- Compact and lightweight aluminium enclosure with top-mounted jacks to save pedalboard space.
- Universal 9-12V DC power intake and relatively low power consumption (100-150mA).
VIDEO GALLERY
Connections
LEFT IN is a monophonic signal input. In a mono signal chain, use this input exclusively.
RIGHT IN is an input for the second signal source. A stereo setup can be achieved by simultaneously connecting two mono signal sources to the LEFT IN and RIGHT IN inputs. The Everest II does not support TRS connections.
LEFT OUT is the left channel output. Connect it to the signal receiver. In a mono signal chain, use this output exclusively.
RIGHT OUT is the right channel output. Connect it to the signal receiver. A stereo setup can be achieved by simultaneously connecting the LEFT OUT and RIGHT OUT outputs to two mono inputs. The Everest II does not support TRS connections.
The mono and stereo modes are explained in the Connection Options section.
The mono and stereo modes are explained in the Connection Options section.
CTRL is an input for external control: MIDI Type A, passive footswitch (normally open momentary button) or analog triggers (S-trig/V-trig).
The CTRL functions are explained in the External Control section.
The CTRL functions are explained in the External Control section.
POWER IN is a power supply input (9-12V DC).
MicroUSB is a port for connecting the pedal to a computer for servicing, configuration and mode switching.
LEFT IN is a monophonic signal input. In a mono signal chain, use this input exclusively.
RIGHT IN is an input for the second signal source. A stereo setup can be achieved by simultaneously connecting two mono signal sources to the LEFT IN and RIGHT IN inputs. The Everest II does not support TRS connections.
LEFT OUT is the left channel output. Connect it to the signal receiver. In a mono signal chain, use this output exclusively.
RIGHT OUT is the right channel output. Connect it to the signal receiver. A stereo setup can be achieved by simultaneously connecting the LEFT OUT and RIGHT OUT outputs to two mono inputs. The Everest II does not support TRS connections.
The mono and stereo modes are explained in the Connection Options section.
The mono and stereo modes are explained in the Connection Options section.
CTRL is an input for external control: MIDI Type A, passive footswitch (normally open momentary button) or analog triggers (S-trig/V-trig).
The CTRL functions are explained in the External Control section.
The CTRL functions are explained in the External Control section.
POWER IN is a power supply input (9-12V DC).
MicroUSB is a port for connecting the pedal to a computer for servicing, configuration and mode switching.
Controls
The Everest II has multi-function controls: each knob and switch can have several purposes. Primary functions are printed in bold. Secondary functions accessed by holding down the TAP / ALT footswitch are printed on the pedal with a border (and printed here in italics). The ones which can be accessed by holding down the ON / HOLD footswitch are underlined. In this text, each function is marked by the same principle.
Tweaking a secondary control function has no effect on the primary control function value, and vice versa. The primary and secondary functions are independent from each other, but only the latest one you've tweaked will have a physical representation (because they are controlled by the same knob or switch).
Tweaking a secondary control function has no effect on the primary control function value, and vice versa. The primary and secondary functions are independent from each other, but only the latest one you've tweaked will have a physical representation (because they are controlled by the same knob or switch).
Primary Parameters (Direct Access)
The REVERB knob controls reverb volume in the wet signal. Turn this knob fully CCW to disengage the reverb.
The DELAY knob controls delay volume in the wet signal. Turn this knob fully CCW to disengage the delay.
The DL.REGEN knob controls delay feedback (the amount of repeats). Turn this knob fully CCW for a single repeat or fully CW for the same effect as holding down the HOLD footswitch.
The DL.TIME knob controls delay time. Turn this knob fully CCW to disengage the delay effect, leaving only the filtering and modulation active.
The STEREO knob controls the wet signal's stereo width.
Please see the Stereo Setup section for details.
Please see the Stereo Setup section for details.
The MODE switch selects an algorithm from a bank.
Please see the Banks & Patches section for details.
Please see the Banks & Patches section for details.
The BEAT switch selects a subdivision for the time set by the DL.TIME knob or the TAP footswitch:
- UP: 3/4 (dotted eighth note).
- CENTER: 1/1 (quarter note).
- DOWN: 2/3 (quarter note triplet).
The ON / HOLD footswitch has several functions:
- ON — Press once to turn the effect on or off.
- HOLD — Press and hold to enter Hold Mode (infinite sustain with gradually increasing feedback).
- Press twice to switch between the Favorite preset and the current parameter values.
The TAP / ALT footswitch has several functions:
- TAP — Press at least twice to set delay time.
- ALT — Press and hold to access secondary control functions.
The REVERB knob controls reverb volume in the wet signal. Turn this knob fully CCW to disengage the reverb.
The DELAY knob controls delay volume in the wet signal. Turn this knob fully CCW to disengage the delay.
The DL.REGEN knob controls delay feedback (the amount of repeats). Turn this knob fully CCW for a single repeat or fully CW for the same effect as holding down the HOLD footswitch.
The DL.TIME knob controls delay time. Turn this knob fully CCW to disengage the delay effect, leaving only the filtering and modulation active.
The STEREO knob controls the wet signal's stereo width.
Please see the Stereo Setup section for details.
Please see the Stereo Setup section for details.
The MODE switch selects an algorithm from a bank.
Please see the Banks & Patches section for details.
Please see the Banks & Patches section for details.
The BEAT switch selects a subdivision for the time set by the DL.TIME knob or the TAP footswitch:
- UP: 3/4 (dotted eighth note).
- CENTER: 1/1 (quarter note).
- DOWN: 2/3 (quarter note triplet).
The ON / HOLD footswitch has several functions:
- ON — Press once to turn the effect on or off.
- HOLD — Press and hold to enter Hold Mode (infinite sustain with gradually increasing feedback).
- Press twice to switch between the Favorite preset and the current parameter values.
The TAP / ALT footswitch has several functions:
- TAP — Press at least twice to set delay time.
- ALT — Press and hold to access secondary control functions.
Secondary Parameters (ON / HOLD)
HOLD + BEAT selects bypass mode. Set the BEAT switch to the up position for no tails in bypass, to the center position for tails in bypass, or to the down position for Kill Dry with tails in bypass.
Please see the Bypass & Indication section for details.
Please see the Bypass & Indication section for details.
HOLD + BEAT selects bypass mode. Set the BEAT switch to the up position for no tails in bypass, to the center position for tails in bypass, or to the down position for Kill Dry with tails in bypass.
Please see the Bypass & Indication section for details.
Please see the Bypass & Indication section for details.
Secondary Parameters (TAP / ALT)
The RV.TONE knob controls the LPF at the reverb section's output. Turn this knob fully CCW to cut most of the high frequencies and get the darkest reverb tone. Turn it fully CW for the brightest reverb sound.
The RV.DECAY knob controls reverb decay. Turn this knob fully CW for the same effect as holding down the HOLD footswitch.
The RV.SRR knob controls reverb sample rate reduction (useful for lo-fi effects). Turn this knob fully CCW for no sample rate reduction.
The DL.TONE knob controls the LPF at the delay section's output. Turn this knob fully CCW to cut most of the high frequencies and get the darkest delay tone. Turn it fully CW for the brightest delay sound.
The DL.SRR knob controls delay sample rate reduction (useful for lo-fi effects). Turn this knob fully CCW for no sample rate reduction.
The DL.TYPE switch selects delay mode:
- UP: ST (Stereo). The channels are fully independent.
- CENTER: RS (Reverse). The channels are fully independent, and the delay buffer is played back in reverse.
- DOWN: PP (Ping Pong). The input signal is summed down to mono, and delay repeats alternate between the left and right channels.
The RV.TONE knob controls the LPF at the reverb section's output. Turn this knob fully CCW to cut most of the high frequencies and get the darkest reverb tone. Turn it fully CW for the brightest reverb sound.
The RV.DECAY knob controls reverb decay. Turn this knob fully CW for the same effect as holding down the HOLD footswitch.
The RV.SRR knob controls reverb sample rate reduction (useful for lo-fi effects). Turn this knob fully CCW for no sample rate reduction.
The DL.TONE knob controls the LPF at the delay section's output. Turn this knob fully CCW to cut most of the high frequencies and get the darkest delay tone. Turn it fully CW for the brightest delay sound.
The DL.SRR knob controls delay sample rate reduction (useful for lo-fi effects). Turn this knob fully CCW for no sample rate reduction.
The DL.TYPE switch selects delay mode:
- UP: ST (Stereo). The channels are fully independent.
- CENTER: RS (Reverse). The channels are fully independent, and the delay buffer is played back in reverse.
- DOWN: PP (Ping Pong). The input signal is summed down to mono, and delay repeats alternate between the left and right channels.
Press and hold ON+TAP for 3 seconds to save the current parameter values to the Favorite preset.
Bypass and Indication
The dry signal path is fully analog throughout the whole pedal. No latency or distortion is applied to the dry signal.
Due to the Everest II's active bypass, there is no audible clicking, and three independent global modes are available (selectable by the BEAT switch while holding down the ON/HOLD footswitch):
Due to the Everest II's active bypass, there is no audible clicking, and three independent global modes are available (selectable by the BEAT switch while holding down the ON/HOLD footswitch):
- UP: "No tails" mode. The effect is only heard when the pedal is engaged in the signal chain and turns off immediately when the ON footswitch is pressed.
- CENTER: "Tails" mode. After you have switched the pedal off via the ON footswitch, it keeps playing back delay repeats and reverb reflections but the incoming signal is no longer processed.
- DOWN: "Kill Dry with tails" mode. The dry signal is completely removed from the output. Just like the previous mode, this one only engages the input when you press the ON footswitch. The active fragment is played till the end, so that the sound doesn't get cut off abruptly. This mode is highly recommended for Wet-Dry-Wet processing or external wet/dry mixing setups.
The bypass mode is displayed upon selection and upon power-up. The LED above the ON/HOLD footswitch flashes five times in one of the following colors:
- Red: "No tails" mode.
- Blue: "Tails" mode.
- White: "Kill Dry with tails" mode.
The ON/HOLD LED has five functions:
- On/off indication. If the pedal is bypassed (disengaged from the signal chain), the LED doesn't light up.
- Active bank indication. Upon power-up, the LED displays the selected bank: Blue, Red, Magenta or Cyan.
- Hold Mode status indication. When the ON/HOLD footswitch is held down, the LED flashes in various colors.
- "Favorite" status indication. When the Favorite preset is recalled, the ON/HOLD LED glows green. If the pedal is bypassed but the Favorite preset is recalled, the LED flashes briefly to indicate that the Favorite preset will be active when the pedal is turned on.
- Bypass mode indication upon selection or power-up.
The TAP/ALT LED has four functions:
- Tempo indication. The LED flashes in sync with the current tempo.
- Delay mode indication:
- White: Stereo (ST).
- Red: Reverse (RS).
- Green: Ping Pong (PP).
- White: Stereo (ST).
- Secondary function access indication. When the TAP/ALT footswitch is held down, the LED glows in magenta.
- The LED is off when the DL.TIME knob is set fully CCW (indicating that delay modulation and filters are used without the actual repeats).
The ON/HOLD LED has five functions:
- On/off indication. If the pedal is bypassed (disengaged from the signal chain), the LED doesn't light up.
- Active bank indication. Upon power-up, the LED displays the selected bank: Blue, Red, Magenta or Cyan.
- Hold Mode status indication. When the ON/HOLD footswitch is held down, the LED flashes in various colors.
- "Favorite" status indication. When the Favorite preset is recalled, the ON/HOLD LED glows green. If the pedal is bypassed but the Favorite preset is recalled, the LED flashes briefly to indicate that the Favorite preset will be active when the pedal is turned on.
- Bypass mode indication upon selection or power-up.
The TAP/ALT LED has four functions:
- Tempo indication. The LED flashes in sync with the current tempo.
- Delay mode indication:
- White: Stereo (ST).
- Red: Reverse (RS).
- Green: Ping Pong (PP).
- White: Stereo (ST).
- Secondary function access indication. When the TAP/ALT footswitch is held down, the LED glows in magenta.
- The LED is off when the DL.TIME knob is set fully CCW (indicating that delay modulation and filters are used without the actual repeats).
Connection Options
LEFT IN is the main mono input. If you are using the pedal with a mono signal source, use this input exclusively. Connect the signal source to the LEFT IN input, then connect the LEFT OUT output to the signal receiver.
When in mono mode, the STEREO knob changes its functions. It now slightly changes reverb tone and affects the delay depending on the selected delay mode:
When in mono mode, the STEREO knob changes its functions. It now slightly changes reverb tone and affects the delay depending on the selected delay mode:
- Stereo and Reverse: the STEREO knob introduces up to 30 ms of drift in delay time between the left and right channels;
- Ping Pong: in the 7:00-12:00 range, the knob affects the volume (accent) of the second repeat. When set anywhere in the 12:00-5:00 range, the knob doubles the delay time for all repeats beyond the first one (max delay time in this mode is 2 seconds).
In order to convert a mono signal to stereo, connect the signal source to LEFT IN, then connect LEFT OUT and RIGHT OUT to the signal receiver.
The dry signal will be placed in the center, while the wet signal will be spread across the stereo image depending on the STEREO knob's setting.
If you wish to flip the direction of the repeats' stereo movement in Ping Pong mode, swap the LEFT OUT and RIGHT OUT connections. This way, the first repeat will play in the right channel (unlike in the standard connection scheme where the first repeat is on the left). Using RIGHT IN in MONO TO STEREO mode is not recommended.
The dry signal will be placed in the center, while the wet signal will be spread across the stereo image depending on the STEREO knob's setting.
If you wish to flip the direction of the repeats' stereo movement in Ping Pong mode, swap the LEFT OUT and RIGHT OUT connections. This way, the first repeat will play in the right channel (unlike in the standard connection scheme where the first repeat is on the left). Using RIGHT IN in MONO TO STEREO mode is not recommended.
When both LEFT IN and RIGHT IN are engaged, the pedal goes into dual mono mode and the channels are processed independently (except for Ping Pong mode in the delay section, where inputs are summed). The wet signal in the left and right channels goes to LEFT OUT and RIGHT OUT, respectively. The STEREO knob works as usual.
In this mode, you can plug either a stereo source or two mono sources into the pedal. The two mono sources will be processed together (if the STEREO knob is set past 12:00, there will be no channel crosstalk).
In this mode, you can plug either a stereo source or two mono sources into the pedal. The two mono sources will be processed together (if the STEREO knob is set past 12:00, there will be no channel crosstalk).
Aside from standard use cases, independent left & right channel processing allows using the pedal in mono for double processing. Plug a mono signal source into LEFT IN, connect RIGHT OUT to the signal receiver, then connect LEFT OUT to RIGHT IN.
The incoming signal will be processed by the pedal twice. Please note that control ranges are significantly altered in this mode. The pedal goes into self-oscillation much quicker, and overloads may happen at various internal gain stages. However, with a bit of practice you can achieve very peculiar results in this mode. Experiment away!
The incoming signal will be processed by the pedal twice. Please note that control ranges are significantly altered in this mode. The pedal goes into self-oscillation much quicker, and overloads may happen at various internal gain stages. However, with a bit of practice you can achieve very peculiar results in this mode. Experiment away!
LEFT IN is the main mono input. If you are using the pedal with a mono signal source, use this input exclusively. Connect the signal source to the LEFT IN input, then connect the LEFT OUT output to the signal receiver.
When in mono mode, the STEREO knob changes its functions. It now slightly changes reverb tone and affects the delay depending on the selected delay mode:
When in mono mode, the STEREO knob changes its functions. It now slightly changes reverb tone and affects the delay depending on the selected delay mode:
- Stereo and Reverse: the STEREO knob introduces up to 30 ms of drift in delay time between the left and right channels;
- Ping Pong: in the 7:00-12:00 range, the knob affects the volume (accent) of the second repeat. When set anywhere in the 12:00-5:00 range, the knob doubles the delay time for all repeats beyond the first one (max delay time in this mode is 2 seconds).
In order to convert a mono signal to stereo, connect the signal source to LEFT IN, then connect LEFT OUT and RIGHT OUT to the signal receiver.
The dry signal will be placed in the center, while the wet signal will be spread across the stereo image depending on the STEREO knob's setting.
If you wish to flip the direction of the repeats' stereo movement in Ping Pong mode, swap the LEFT OUT and RIGHT OUT connections. This way, the first repeat will play in the right channel (unlike in the standard connection scheme where the first repeat is on the left). Using RIGHT IN in MONO TO STEREO mode is not recommended.
The dry signal will be placed in the center, while the wet signal will be spread across the stereo image depending on the STEREO knob's setting.
If you wish to flip the direction of the repeats' stereo movement in Ping Pong mode, swap the LEFT OUT and RIGHT OUT connections. This way, the first repeat will play in the right channel (unlike in the standard connection scheme where the first repeat is on the left). Using RIGHT IN in MONO TO STEREO mode is not recommended.
When both LEFT IN and RIGHT IN are engaged, the pedal goes into dual mono mode and the channels are processed independently (except for Ping Pong mode in the delay section, where inputs are summed). The wet signal in the left and right channels goes to LEFT OUT and RIGHT OUT, respectively. The STEREO knob works as usual.
In this mode, you can plug either a stereo source or two mono sources into the pedal. The two mono sources will be processed together (if the STEREO knob is set past 12:00, there will be no channel crosstalk).
In this mode, you can plug either a stereo source or two mono sources into the pedal. The two mono sources will be processed together (if the STEREO knob is set past 12:00, there will be no channel crosstalk).
Aside from standard use cases, independent left & right channel processing allows using the pedal in mono for double processing. Plug a mono signal source into LEFT IN, connect RIGHT OUT to the signal receiver, then connect LEFT OUT to RIGHT IN.
The incoming signal will be processed by the pedal twice. Please note that control ranges are significantly altered in this mode. The pedal goes into self-oscillation much quicker, and overloads may happen at various internal gain stages. However, with a bit of practice you can achieve very peculiar results in this mode. Experiment away!
The incoming signal will be processed by the pedal twice. Please note that control ranges are significantly altered in this mode. The pedal goes into self-oscillation much quicker, and overloads may happen at various internal gain stages. However, with a bit of practice you can achieve very peculiar results in this mode. Experiment away!
Stereo Setup
The pedal has two internal channel setups for the delay section: independent channels (Stereo, Reverse) or summed channels (Ping Pong). Reverb always processes the two channels independently.
Use the DL.TYPE switch to select the channel setup and the STEREO knob to control stereo width.
The STEREO knob affects the delay and reverb sections simultaneously, resulting in the most organic stereo image. It provides complex control over channel crosstalk and micro delays (for wide stereo and Haas effect). This way, a single knob allows you to place the wet signal in the center or push it to the sides, leaving the center for the dry signal. To visualize the knob's ranges in various modes, please refer to the image.
Use the DL.TYPE switch to select the channel setup and the STEREO knob to control stereo width.
The STEREO knob affects the delay and reverb sections simultaneously, resulting in the most organic stereo image. It provides complex control over channel crosstalk and micro delays (for wide stereo and Haas effect). This way, a single knob allows you to place the wet signal in the center or push it to the sides, leaving the center for the dry signal. To visualize the knob's ranges in various modes, please refer to the image.
The 7:00-12:00 range controls channel crosstalk in reverb and delay:
- 7:00 — 100% crosstalk; effects are summed to mono regardless of the initial settings at the input.
- 12:00 — 0% crosstalk; the left and right channels are processed independently.
The 7:00-12:00 range controls channel crosstalk in reverb and delay:
- 7:00 — 100% crosstalk; effects are summed to mono regardless of the initial settings at the input.
- 12:00 — 0% crosstalk; the left and right channels are processed independently.
The STEREO knob also controls stereo image width for reverb and stereo delay. Unlike crosstalk, this parameter is controlled by the full range of the knob.
Splitting the ranges of the STEREO knob allows for independent left and right channel processing in case of series processing or double processing.
When using the delay in Ping Pong mode, the STEREO knob only affects channel crosstalk in the 7:00-12:00 range, while the 12:00-5:00 range has no effect on stereo image width. Set the knob to 12:00 for maximum width of Ping Pong delay.
Splitting the ranges of the STEREO knob allows for independent left and right channel processing in case of series processing or double processing.
When using the delay in Ping Pong mode, the STEREO knob only affects channel crosstalk in the 7:00-12:00 range, while the 12:00-5:00 range has no effect on stereo image width. Set the knob to 12:00 for maximum width of Ping Pong delay.
Setting the Delay Time
Use the DL.TIME knob or TAP footswitch to set delay time in quarter notes, which can then be turned into triplets or dotted 8ths via the BEAT switch. The longest delay time (and also the longest tap interval) is 1 second. The TAP footswitch and the DL.TIME knob have the exact same effect on delay time. Delay time is determined by the control that has been used last.
The TAP LED displays the set tempo (in quarter notes by default). When the tempo is set via the TAP footswitch, the tempo change is not applied instantly; however, the next delay repeat will be played at the new tempo. This eliminates artifacts caused by delay time shifts; at the same time, it allows you to change delay time on the fly and achieve glitchy effects with the DL.REGEN knob set high. In turn, the DL.TIME knob changes delay time instantly by default, resulting in classic delay artifacts.
The DL.TIME knob has a "blind spot": the first 5% of its range have no effect on delay time. This allows you to set the knob fully CCW and only use delay filters and modulation without the actual repeats. This way, you can achieve mild chorus/flanger processing or high-pass filtering (depending on the selected mode).
Time indication mode, DL.TIME knob operation mode, and subdivisions are all accessible via the config file.
Read more on the Everest II Support Page.
The TAP LED displays the set tempo (in quarter notes by default). When the tempo is set via the TAP footswitch, the tempo change is not applied instantly; however, the next delay repeat will be played at the new tempo. This eliminates artifacts caused by delay time shifts; at the same time, it allows you to change delay time on the fly and achieve glitchy effects with the DL.REGEN knob set high. In turn, the DL.TIME knob changes delay time instantly by default, resulting in classic delay artifacts.
The DL.TIME knob has a "blind spot": the first 5% of its range have no effect on delay time. This allows you to set the knob fully CCW and only use delay filters and modulation without the actual repeats. This way, you can achieve mild chorus/flanger processing or high-pass filtering (depending on the selected mode).
Time indication mode, DL.TIME knob operation mode, and subdivisions are all accessible via the config file.
Read more on the Everest II Support Page.
Banks & Patches
The 12 patches of the Everest II are organized into 4 banks, each holding 3 patches.
Use the MODE switch to select a patch from the bank.
To select the B, R or M bank, press and hold the ON/HOLD footswitch, then set the BANK switch to the desired position:
To select bank C (Cyan Bank), press and hold the TAP/ALT footswitch, then set the BANK switch to any position. The ON/HOLD LED will light up in cyan, indicating that the Cyan Bank has been selected. After this, you can release the TAP/ALT footswitch and select a patch via the MODE switch.
The config file provides access to another way of selecting patches.
Read more on the Everest II Support Page.
Use the MODE switch to select a patch from the bank.
To select the B, R or M bank, press and hold the ON/HOLD footswitch, then set the BANK switch to the desired position:
- UP: B (Blue Bank). The ON/HOLD LED glows blue.
- Center: R (Red Bank). The ON/HOLD LED glows red.
- Down: M (Magenta Bank). The ON/HOLD LED glows magenta.
To select bank C (Cyan Bank), press and hold the TAP/ALT footswitch, then set the BANK switch to any position. The ON/HOLD LED will light up in cyan, indicating that the Cyan Bank has been selected. After this, you can release the TAP/ALT footswitch and select a patch via the MODE switch.
The config file provides access to another way of selecting patches.
Read more on the Everest II Support Page.
The ON/HOLD LED glows blue.
Set the MODE switch to the desired position:
Set the MODE switch to the desired position:
- Up: Sunshine. A sunny, snowy and frosty morning right atop the Everest. The delay and reverb in this mode are so bright and cold they will send shivers down your spine!
- Center: Eclipse. Modulated delay repeats and solemn reverb reflections make for a perfect soundscape of the Himalayas at dusk.
- Down: Moonshine. The initial delay repeats and reverb reflections are accompanied by octave sounds for a weird, otherworldly effect.
The ON/HOLD LED glows red.
Set the MODE switch to the desired position:
Set the MODE switch to the desired position:
- Up: Digital. Clean delay repeats with no audible degradation (like the ones in vintage digital delay machines) coupled with bright reverb reflections make for a very "transparent" mode.
- Center: Tape. Modulated tape-style delay with characteristic repeat degradation is accompanied by dark vintage reverb.
- Down: Low. A loud lower octave with a long decay is mixed into the reverb reflections. Together with filtered delay repeats, this creates a powerful low-frequency pad.
The ON/HOLD LED glows magenta.
Set the MODE switch to the desired position:
Set the MODE switch to the desired position:
- Up: Iceman. Bright delay and reverb with 80s-style modulation. Delay modulation is based on flanging (the characteristic artifact caused by the tape drives of two tape machines being slightly out of sync) and a classic resonant filter. The reverb practically omits the low frequencies, so there's no excessive rumbling. If you need some cool 80s flavor, this mode is for you.
- Center: Rock. A classic setting with modern extras. The delay has a resonant filter at around 2500Hz, resulting in punchy but not overly bright repeats (like the delays based on PT and RETICON chips) with a bit of modulation. The patch is complemented by the soft shim-down reverb which adds depth and expands the sonic field.
- Down: Dark Drum. A polar opposite to Iceman: a punchy delay with traces of an upper octave plus a reverb with a huge octave down. High frequencies are significantly cut in this mode. The sound is processed in such a way that both the reverb and the delay merge into a single whole.
The ON/HOLD LED glows cyan.
Set the MODE switch to the desired position:
Set the MODE switch to the desired position:
- Up: Stratosphere. The delay has a hint of the upper octave. The reverb gradually ascends into the high frequencies, resulting in soaring sounds.
- Center: Avalanche. A dark, heavily modulated patch. A blizzard that rages among the mountain peaks of reverb and delay. This setting works well for slow ambient parts.
- Down: Modulated. The octave signal in the reverb and the heavy modulation in delay repeats result in a much lighter mood than the Avalanche. This time, it is the frozen eternity of ice peaks and snow-covered slopes.
The ON/HOLD LED glows blue.
Set the MODE switch to the desired position:
Set the MODE switch to the desired position:
- Up: Sunshine. A sunny, snowy and frosty morning right atop the Everest. The delay and reverb in this mode are so bright and cold they will send shivers down your spine!
- Center: Eclipse. Modulated delay repeats and solemn reverb reflections make for a perfect soundscape of the Himalayas at dusk.
- Down: Moonshine. The initial delay repeats and reverb reflections are accompanied by octave sounds for a weird, otherworldly effect.
The ON/HOLD LED glows red.
Set the MODE switch to the desired position:
Set the MODE switch to the desired position:
- Up: Digital. Clean delay repeats with no audible degradation (like the ones in vintage digital delay machines) coupled with bright reverb reflections make for a very "transparent" mode.
- Center: Tape. Modulated tape-style delay with characteristic repeat degradation is accompanied by dark vintage reverb.
- Down: Low. A loud lower octave with a long decay is mixed into the reverb reflections. Together with filtered delay repeats, this creates a powerful low-frequency pad.
The ON/HOLD LED glows magenta.
Set the MODE switch to the desired position:
Set the MODE switch to the desired position:
- Up: Iceman. Bright delay and reverb with 80s-style modulation. Delay modulation is based on flanging (the characteristic artifact caused by the tape drives of two tape machines being slightly out of sync) and a classic resonant filter. The reverb practically omits the low frequencies, so there's no excessive rumbling. If you need some cool 80s flavor, this mode is for you.
- Center: Rock. A classic setting with modern extras. The delay has a resonant filter at around 2500Hz, resulting in punchy but not overly bright repeats (like the delays based on PT and RETICON chips) with a bit of modulation. The patch is complemented by the soft shim-down reverb which adds depth and expands the sonic field.
- Down: Dark Drum. A polar opposite to Iceman: a punchy delay with traces of an upper octave plus a reverb with a huge octave down. High frequencies are significantly cut in this mode. The sound is processed in such a way that both the reverb and the delay merge into a single whole.
The ON/HOLD LED glows cyan.
Set the MODE switch to the desired position:
Set the MODE switch to the desired position:
- Up: Stratosphere. The delay has a hint of the upper octave. The reverb gradually ascends into the high frequencies, resulting in soaring sounds.
- Center: Avalanche. A dark, heavily modulated patch. A blizzard that rages among the mountain peaks of reverb and delay. This setting works well for slow ambient parts.
- Down: Modulated. The octave signal in the reverb and the heavy modulation in delay repeats result in a much lighter mood than the Avalanche. This time, it is the frozen eternity of ice peaks and snow-covered slopes.
Hold Mode (Infinite Sustain)
Press and hold the ON/HOLD footswitch for more than 0.3 seconds to simulate turning the DL.REGEN and RV.DECAY knobs to the max. In this mode, reverbs become infinite or very long (2–5 minutes), delays go into maximum feedback, and the LED starts flashing in various colors. Release the ON/HOLD footswitch to let DL.REGEN and RV.DECAY go back to their knobs' settings.
Hold Mode is designed for gradual sound build-up and slow transition into self-oscillation and saturation. The speed of the build-up depends on the selected mode and overall brightness settings.
In Hold Mode, patches with resonant filters in the delay section go into self-oscillation faster than the rest. This can sometimes be used to generate sound even with no input signal present.
Hold Mode is designed for gradual sound build-up and slow transition into self-oscillation and saturation. The speed of the build-up depends on the selected mode and overall brightness settings.
In Hold Mode, patches with resonant filters in the delay section go into self-oscillation faster than the rest. This can sometimes be used to generate sound even with no input signal present.
Favorite Preset
To store the current settings into the Favorite preset, press and hold the TAP/ALT and ON/HOLD footswitches simultaneously for 3 seconds. The preset will be recorded into the pedal's internal memory, and the ON/HOLD LED will light up in green.
To recall or exit the Favorite preset, briefly press the ON/HOLD footswitch twice. If the ON/HOLD LED is glowing green, the Favorite preset is active. If the Favorite preset has been recalled but the pedal is bypassed, the ON/HOLD LED lights up briefly: this provides visual feedback regarding the settings which the pedal will employ when engaged. When the Favorite preset is active, the ON/HOLD LED periodically displays the bank which contains the saved algorithm.
When the Favorite preset is active, controls on the pedal have no effect until you turn/switch them. If you exit the altered Favorite preset without saving, the changes you've made won't be recalled the next time you activate the Favorite preset.
The Favorite preset can use the global delay time setting as long as that function has been activated via the config file.
You can turn off the Favorite function or remap it to an external footswitch through the config file. Read more about Favorite preset settings on the Everest II Support Page.
To recall or exit the Favorite preset, briefly press the ON/HOLD footswitch twice. If the ON/HOLD LED is glowing green, the Favorite preset is active. If the Favorite preset has been recalled but the pedal is bypassed, the ON/HOLD LED lights up briefly: this provides visual feedback regarding the settings which the pedal will employ when engaged. When the Favorite preset is active, the ON/HOLD LED periodically displays the bank which contains the saved algorithm.
When the Favorite preset is active, controls on the pedal have no effect until you turn/switch them. If you exit the altered Favorite preset without saving, the changes you've made won't be recalled the next time you activate the Favorite preset.
The Favorite preset can use the global delay time setting as long as that function has been activated via the config file.
You can turn off the Favorite function or remap it to an external footswitch through the config file. Read more about Favorite preset settings on the Everest II Support Page.
External Parameter Control
The CTRL input allows you to set up external control over the pedal's parameters. It has several operation modes:
Passive controllers and analog triggers take over the ALT/TAP footswitch and set delay time. The Everest II is designed for quarter-note clocking (1PPQN) with 0.005-1s intervals between two consecutive signals. The lowest clock rate is 60 BPM. The stable clock rate range is 60-300 BPM. Clock precision depends on the stability of control signals.
CTRL input operation mode is selected via the config file. Please see the Everest II Support Page for more details.
- MIDI (Type A) control over all parameters. This mode is selected by default.
- Passive controller (normally open momentary button). The controller mirrors the functionality of the TAP/ALT footswitch or recalls the Favorite preset.
- S-trigger. "Short circuit trigger", analog trigger/gate with the same polarity as the pedal's. This is the recommended trigger type. This mode works equally well with active and passive controllers plugged into the CTRL input. Two operation options are available:
- The TAP/ALT footswitch retains its functions even when a clock signal source is connected to the pedal.
- The TAP/ALT footswitch has no effect on delay time and can only be used to access secondary functions.
- The TAP/ALT footswitch retains its functions even when a clock signal source is connected to the pedal.
- V-trigger. "Voltage trigger"/"positive trigger", analog trigger/gate with polarity opposite to the pedal's. Use this trigger type if you have no S-trigger source. If no external signal is coming into the CTRL input, the TAP/ALT LED will light up and some of the pedal's functions will be inactive. Those functions become active as soon as a clock signal has been connected. Two operation options are available:
- The TAP/ALT footswitch retains its functions even when a clock signal source is connected to the pedal.
- The TAP/ALT footswitch has no effect on delay time and can only be used to access secondary functions.
- The TAP/ALT footswitch retains its functions even when a clock signal source is connected to the pedal.
Passive controllers and analog triggers take over the ALT/TAP footswitch and set delay time. The Everest II is designed for quarter-note clocking (1PPQN) with 0.005-1s intervals between two consecutive signals. The lowest clock rate is 60 BPM. The stable clock rate range is 60-300 BPM. Clock precision depends on the stability of control signals.
CTRL input operation mode is selected via the config file. Please see the Everest II Support Page for more details.
Specifications
- LEFT IN / RIGHT IN: 6.3 mm, mono, unbalanced, 1 MOhm input impedance. LEFT IN is the main mono input.
- LEFT OUT / RIGHT OUT: 6.3mm, mono, unbalanced, 100 Ohm output impedance. LEFT OUT is the main mono output.
- CTRL: 6.3 mm, MIDI Type A, normally open momentary button, or 5V analog trigger (S-trig/V-trig) with up to a 1-second interval between two consecutive signals.
- Max delay time: 1 second (2 seconds in Ping Pong mode in a mono setup).
- Power: 2,1/5,5 mm, negative tip. The pedal can't be battery-powered. Use a regulated PSU only.
- 9V DC 150mA.
- 12V DC 100mA.
- 9V DC 150mA.
- Dimensions (LхWхH): 110х104х56mm (4.3x4.1x2.2").
- Weight: 350g (0.77lbs).
Links & Downloads
Photo Gallery
