- Eventide h910 harmonizer manual manual#
- Eventide h910 harmonizer manual software#
- Eventide h910 harmonizer manual professional#
Eventide h910 harmonizer manual professional#
The product recreated in this plug-in was among the first introduced by Eventide – and among the world’s first commercially available professional recording products. For over 40 years, innovative products like these have made Eventide an industry leader, and we are extremely proud that they continue to be in demand today. This package includes a stunning recreation of the H910 Harmonizer®, as well as a Dual H910 version, which recreates the popular technique of running two H910 units in parallel to create lush doubling and other interesting effects. We’ll get into more depth on the product soon but, before you forget, please take a few minutes to register online.
Eventide h910 harmonizer manual software#
This helps us keep you informed of any important software updates, and any special offers that may only be available to registered users. Eventide h910 harmonizer release software# The more powerful H949 Harmonizer that followed soon became a mainstay of high-end recording studios and broadcasters, and found its way into the stage racks of many well-heeled musicians. The Eventide Clockworks H910 Harmonizer® was the world’s first harmonizer and one of the first commercially-available digital audio products. In 1974 the brilliantly innovative H910 Harmonizer was an instant success, providing not only delays with modulation and feedback, but also playable pitch-shifting.
Eventide h910 harmonizer manual manual#
It offered built-in delay, manual adjustment of +/- 1 octave and even had an “Anti-Feedback” mode which helped to eliminate feedback between a mic and speaker by constantly “riding” room modes. The plug-in captures all the realism of the original, including its “glitching” as it modifies the pitch. The original HK940 keyboard option is included and augmented with modern MIDI control that allows you to “play” the desired pitch using MIDI notes or bend it via pitch wheel. Simply assign the connected controller to the H910’s MIDI channel (see: “Working with the Harmonizer®” for more detail.). The H910 plug-in also includes additional Mixer and Envelope Follower sections which allow you to utilize the second delay output and control voltage input options that were available in the original hardware H910. When the Line control is IN the LED is on and the unit is actively processing audio when it is OUT the LED is off and the unit is bypassed and passes audio directly from input to output. (Note that the Limit Indicator is “after” the Input Level and Feedback controls, so it will illuminate when internal clipping is about to occur due to excessive input level or feedback.) Adjust the Input Level so that the Limit Indicator flashes only on input peaks. Eventide h910 harmonizer release software#.Eventide h910 harmonizer release manual#.Eddie Van Halen and Steve Winwood also used the H910, each owning two of the units and incorporating them into their live and studio set-ups. Producer Tony Visconti used the H910 to achieve the now-legendary snare sound on David Bowie’s Young Americans, and Tony Platt did likewise on AC/DC’s Back in Black. Jimmy Page was an early fan, incorporating the H910 into his guitar rack, and, similarly, Frank Zappa employed it heavily as part of his guitar sound. In 1974, Agnello conceived of a harmony processor but had little idea that he was creating a classic tool for the most successful artists of their generation.
Ideal for vocals, guitars, and horns, the Eventide H910 was invented by then-engineer, Tony Agnello. Music engineered on the H910 became the soundtrack of the seventies and eighties drawing praise and extensive use from a select group of top artists and producers. Early customers included New York City’s Channel 5 putting an H910 to work, downward pitch shifting the audio portion of “I Love Lucy” reruns that were sped up to squeeze in more commercials. Users soon found all sorts of applications, ranging from regenerative arpeggios to bizarre sound design effects to lush guitar or vocal fattening. Yes, vocalist Jon Anderson tested the first prototype.
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