They also developed a tape counter for the Ampex MM1000 2" tape recorder-essentially an "autolocator," or remote control -which was so successful that Ampex made it an OEM product. A profanity delay lives between a broadcast studio and the air waves, allowing broadcast engineers time to catch and "bleep" obscenities before they hit the air-and before the broadcaster is hit with a fine from the FCC. It is worth noting that Eventide also had -and still has-its hands in a number of other markets, including profanity delays for broadcast. This article explores both the under-the-hood technology of the H3000 and the developments at Eventide that ultimately led to its creation, beginning with the truly groundbreaking H910.ġ979 Eventide Clock Works Harmonizer H910
#Eventide h910 agnello software#
And while vintage units can be had at reasonable cost, rest assured that most of the H3000's algorithms have been ported to software plugins. Whether in its original yellow-on-black cosmetics, the iconic gray-on-blue, or the later D/SE and "squiggle font" D/SX incarnations, the H3000 is immediately recognizable in the racks of the finest studios and producers around the world. The H3000 was, in its designers' own words, "a multi-effects monster," combining Eventide's standard-setting, pitch-shifting algorithms (now fully diatonic and stereo), along with delays, a comprehensive library of modulation effects, and powerful reverb algorithms-all in a modular, upgradeable package. Around the same time, Eventide released what would ultimately become a multi-effects staple, the H3000. The Yamaha SPX-90 and Lexicon's PCM 70, both released in 1985, successfully adapted algorithms from their flagship products into devices at a price point that placed high-quality reverbs, delays, and modulation effects within reach of musicians and smaller studios. The mid-to-late 1980s marked the beginning of what could undeniably be considered the golden age of digital multi-effects studio processors.
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