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When I joined Eventide in early 1973, the first model of the Digital Delay Line, the DDL1745, had just started shipping. Maybe you can tell us a bit about how the H910 came about? So you’ve already told this amazing story of the Omnipressor. The first commercial digital delay looked like… this. * I should note the plug-in reference is probably first in regards to audio gear other domains may have seen its use first. Tony deals with those philosophical questions of imaginative possibility, perhaps most eloquently – in a way perhaps only an engineer can. Here, inventor Richard Factor explains how its creation grew out of the Richard Nixon tapes. Or, there’s the Omnipressor, the classic early 70s gear that introduced the very concept of the dynamics processor.
#Uad eventide h910 harmonizer software#
I now have come to feel that way about my plug-in folder, and their software recreations, just because then you have the ability to dial up unexpected possibilities. Susan Rogers of Prince fame (who we’ve been talking about lately) also talks about how she “had to have” her Eventide harmonizer and delays. My apologies to the sound schools of the world.) What do you do with a delay? “Put stuff in it!” Do you need to know what the knobs are doing? No! (Sorry, I may have just spoiled potentially thousands of dollars in audio training.
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Here’s the story of the DDL 1745 from 1971, back when engineers had to “rewind the f***ing tape machines” just to hear a delay.Įventide founder Richard Factor started experimenting with digital delays while working a day job in the defense industry, at the height of the Vietnam War, working with shift registers that work in bits. You’d expect an electrical engineering tale to be dry as dust, but – this is frontier adventure stuff, like, if you’re a total nerd. Here’s the thing – whether or not you care about sounding like a classic record or lived through all of the 1970s (that’s, uh, “not so much” for me on both of those, sorry), the story of how this gear was made is totally fascinating. And that’s before even getting into Eventide’s harmonizers, delays, the Omnipressor, and many others. For instance, David Bowie’s “Low,” Kraftwerk’s “Computer World” and AC/DC’s “Back In Black” all use their H910 harmonizer, the gear called out specifically by the Grammy organization. But you’ve heard the creations of Richard Factor and Tony Agnello, who remain at Eventide today (as do those inventions, in various hardware and software recreations, including for the Universal Audio platform). Tony Agnello (left) and Richard Factor (right) at the headquarters.Įlectrical engineers and inventors are rarely household names. VAT-free sales possible to businesses and individuals in the EU (outside the UK) with a valid VAT Number.Ĭan be set up for whatever voltage you are on – let us know before shipping.Why are these engineers smiling? Because they got a Grammy for their inventions.
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Price includes VAT at 20% (for sales in UK/EU) – buyers outside the EU please contact us for tax-free prices. The buttons have some yellowing and there is the inevitable rack rash but the face is looking great.
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The H910 page on Eventide’s site is a good place to start for information on this unit.Ĭondition is good. It’s the Bowie/Visconti snare sound – for me that’s enough right there… The game-changing quality of what Eventide did is evident from the fact that the sound still in demand enough for Universal Audio to develop a plug in. Zappa, Bowie, AC/DC and a slew of other artists made use of it. In fact we may well also have a H949 Harmonizer available currently – if that one is showing as sold then check the stock sheet, or get in touch to reserve the next one available.Ĭombining pitch change with delay and feedback, when it was released in the mid-70s it was the first commercially available digital effect. We’re totally hooked on these Eventide boxes – both this one and the H949.