Everest II Black Edition

• 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 described in detail further on.
• EXT. TAP is an input for external tap tempo control: MIDI Type A, passive footswitch (normally open momentary button) or analog triggers (S-trig/V-trig). The EXT. TAP functions are described in detail further on.
• POWER IN is a power supply input (9-12VDC).
• Micro-USB is a port for connecting the pedal to a computer for servicing, configuration and mode switching.

Read more on the Everest II Support Page.

• The REVERB LEVEL knob controls reverb volume in the wet signal. Turn this knob fully CCW to disengage the reverb.
  
• The DELAY LEVEL knob controls delay volume in the wet signal. Turn this knob fully CCW to disengage the delay.
  
• The REGEN knob simultaneously controls delay feedback and reverb decay.
  
• The STEREO WIDTH determines how wide the stereo image is. Turn this knob while holding down the TAP footswitch to control overall brightness of the wet signal. For a detailed description of this knob's functions, please refer to the "Stereo Setup" section.
  
• The TIME knob controls delay time. Turn this knob fully CCW if you want to disengage the delay but still use the filters on repeats.
  
• The MODE switch selects the bank and patch. For a detailed description of patches, please refer to the "Banks & Patches" section.
  
• The BEAT switch selects a subdivision for the time set by the TIME knob or the TAP footswitch:
  
  • UP: 3/4 (dotted eighth note).
    
  • CENTER: 1/1 (quarter note).
    
  • DOWN: 2/3 (quarter note triplet).
    

The subdivisions can be altered via the config file.

• The BYPASS footswitch has multiple functions:
  
  • Press once to turn the effect on or off.
    
  • Press and hold to go into Hold Mode (infinite sustain with a gradual shift into self-oscillation).
    
  • Press twice to recall the Favorite preset or switch back to live control.
    
  • Press and hold while changing the MODE switch setting to select the bank (this behavior can be changed via the config file).
    
  • Press and hold while changing the BEAT switch setting to select bypass mode and control the Kill Dry function.
    
• The TAP footswitch has multiple functions:
  
  • Press twice to set delay time.
    
  • Press and hold while changing the MODE switch setting to access Bank 4.
    
  • Press and hold while changing the BEAT switch setting to control internal channel setup (stereo/ping-pong) for the delay section
  • Press and hold the TAP and BYPASS footswitches simultaneously for 3 seconds to record the current settings as a Favorite preset.

LEFT IN is the main input. If you are using the pedal with a mono signal source, use that 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 WIDTH knob changes its functions. It now slightly changes reverb tone and affects the delay depending on the selected internal channel setup:

• Independent channels: the knob introduces barely noticeable drift in delay time when fully CW (up to 30ms).
  
• Ping-pong: in the 7:00-12:00 range, the knob affects the volume of the second repeat (accent). 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).

There is an alternative mono setup variation. Plug the signal source into LEFT IN, then connect RIGHT OUT to the signal receiver. This way, you will basically get the same setup as with the standard LEFT IN/LEFT OUT config but with a difference in the way ping-pong delay works. In the 7:00-12:00 range, the STEREO WIDTH will now control the volume of the first repeat (accent). With STEREO WIDTH set anywhere past 12:00, the first repeat will be missing while delay time will double (max delay time in this mode is 2 seconds). This config will work well if you need delays longer than 1 second and/or accentuated repeats.

Using RIGHT IN in mono setups is not recommended.

In order to convert a mono signal to stereo, connect the signal source to LEFT IN (the main input jack), 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 WIDTH knob's setting (the knob functions normally in this mode).

If you need ping-pong delay with the first repeat happening in the right channel, reverse the order of the cables coming out of LEFT OUT and RIGHT OUT.

When a mono signal is plugged into RIGHT IN while LEFT IN is disengaged, LEFT OUT will only output the sound determined by the STEREO WIDTH knob (if the knob's position is past 12:00, LEFT OUT will be silent). The dry signal will only be heard in the right channel. In ping-pong mode, repeats will be heard in both channels.

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 STEREO WIDTH knob works normally. The dry signal in the left channel goes to LEFT OUT while the dry signal in the right channel goes to RIGHT OUT. 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 WIDTH 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 the REGEN and STEREO WIDTH knob 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 STEREO WIDTH 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 below.

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.

When using the delay in ping-pong mode, the STEREO WIDTH 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.

The STEREO WIDTH 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 WIDTH knob was required to allow for independent left and right channel processing in case of series processing or double processing.

The STEREO WIDTH knob has an extra function: overall brightness (tone) control for the wet signal. In order to set the brightness for the wet signal in any mode, press and hold the TAP footswitch, then turn the STEREO WIDTH knob. Set the knob fully CCW to cut out most of the high frequencies. For the brightest sound with no high cut, set the knob fully CW.

The EXT.TAP jack is an input for external tap tempo sources. It has several operation modes:

• Passive controller (normally open momentary button). This mode precisely copies the functions of the TAP footswitch.
  
• S-trigger — "short circuit trigger", analog trigger/gate with the same polarity as the pedal's. This is the recommended trigger type. Two sub-modes are available:
  
  • The TAP footswitch retains its functions even when the clock signal is connected.
    
  • The TAP footswitch can only be used for tone control and has no effect on delay time.
    

• V-trigger — "voltage trigger"/"positive trigger", analog trigger/gate with polarity opposite to the pedal's. If no external signal is coming into the EXT.TAP input, the LED will light up, and some of the pedal's functions will be inactive. Those functions become active as soon as a clock signal is connected. Two sub-modes are available:
  
  • The TAP footswitch retains its functions even when the clock signal is connected.
    
  • The TAP footswitch can only be used for tone control and has no effect on delay time.
    

Use this trigger type if you have no S-trigger source or if you prefer V-triggers for other reasons.

• Full MIDI control (Type A).

The S-trigger mode is active by default due to its equally good response to passive and active control via the EXT.TAP input. In order to switch external control mode to passive controller, V-trigger or MIDI, use the config file as described further in this manual.

The passive and active (S-trig/V-trig) external control options assume full control over the TAP footswitch and set the delay time. The active modes can work both with triggers and gates. When clocking the pedal with gate signals, use short impulses.

To connect a MIDI signal source, use a 6.3mm Type A stereo jack (TRS). The MIDI channel is set in the config file. In MIDI mode, delay time is set by the last control you've interacted with (MIDI Clock, TIME knob or TAP footswitch).

The pedal is designed to be clocked in quarter notes with time between two control signals ranging from 0.005 seconds to 1 second. The lowest BPM is 60. The stable BPM range is 60 to 300. The accuracy depends on the stability of the incoming clock signals.

Read more about external tap tempo control on the Everest II Support Page.

The BYPASS/HOLD LED has five functions:

1. On/off indication. If the pedal is bypassed (disengaged from the signal chain), the LED doesn't light up.
   
2. Active bank indication. Upon power-up, the LED displays the selected bank: Blue, Red, Magenta or Cyan.
   
3. Hold Mode status indication. When the BYPASS footswitch is held down, the LED flashes in various colors.
   
4. "Favorite" status indication. When the Favorite preset is recalled, the BYPASS/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. If the Favorite preset has been changed but not saved, the LED flashes briefly.
   
5. Bypass mode indication upon selection or power-up.
   

The TAP LED has four functions:

1. Tempo indication. The TAP LED flashes in sync with the current tempo in quarter notes, not taking the BEAT switch position into account.
   
2. Delay section setup indication. In independent channels mode, the LED glows/flashes white. In ping-pong mode, it glows/flashes green.
   
3. TAP indication. The TAP LED lights up in magenta when the TAP footswitch is pressed or held down.
   
4. The TAP LED is off when the TIME knob is set fully CCW (meaning that delay filters are used without the actual repeats).
   

The BYPASS LED glows blue.
MODE switch 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 BYPASS LED glows red.
MODE switch 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 BYPASS LED glows magenta.
MODE switch 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.

Use TAP + MODE to switch to this bank.
The BYPASS LED glows white.
MODE switch position:

• UP: Stratosphere. The delay has a hint of octave-up. 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.