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So, what does the H3000 Factory sound like? It’s capable of a lush stereo chorus sound on patches such as Variable Width Pitch Shift, which is equally useful on guitars, synths, bass, and anything requiring fattening up. įortunately, Eventide finally released a VST-compatible version of their late-‘80s-era H3000 Harmonizer in 2012, and over the years, have added a number of new presets to it, some created by producers such as Alessandro Cortini, who has worked with Nine Inch Nails, Damian Taylor (Björk, The B-52s, Metallica), and Dave Darlington (George Benson and others).
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It took a while for Eventide to issue a version in the popular VST-plug-in format though, which is why I reviewed Audio Damage’s Discord clone for VST back in 2006 at Blogcritics.
#1975 vintage eventide h910 harmonizer pro#
With digital audio workstations largely supplanting analog recording by the end of the 1990s as the recording industry’s standard recording platform, Eventide introduced a Pro Tools-compatible plug-in version of their early Harmonizer over a decade ago. And on “Bonzo’s Montreux” on Coda, their posthumous last album in 1982, Page ran John Bonham’s drum kit through an Eventide Harmonizer to create a variety of tuned steel drum-like percussion sounds.įor decades after its commercial introduction in 1975, the Eventide Harmonizer was only available in rack-mounted form. The band’s soundman used another to allow Robert Plant to sing harmonies with himself during concerts. Jimmy Page of Led Zeppelin kept one in his guitar rack in the later years of Led Zeppelin. Harmonized guitar solos, exotic percussion sounds, double-tracked vocals, echoes that rise and fall in pitch - over the decades, you’ve heard Harmonizers on countless hit records. To simulate the sound onstage that he gets on record, Scholz runs the guitar signal and the signal from the doubler in stereo, which duplicates, he says, "the old recording trick of using two rhythm guitars panned to the outside." The device, however, can be used in mono, and Tom describes that result as "sounding sort of flanged."Īside from the doubler, which Tom states is used judiciously throughout the album."Īside from the doubler, which Tom states is used judiciously throughout the album.Eventide Harmonizers have been messing with the fabric of space and time ever since. "Anything more than that would get too messy," Tom explains. Because the doubler gives Scholz such a rich, heavy sound, Tom is the only one of Boston's three guitarists to use the device onstage. Since we were broke at the time, and since the technology wasn't very complicated, we built our own. You would need a regular delay unit, a harmonizer, and an oscillator-nothing very complicated. You can build the same type of unit with commercially available devices, but I think that unless you were filthy rich, it wouldn't justify the cost. We designed it to approximate the same sound as when you dub over a guitar part twice: it adds a pitch change to the time delay. It does more than, say, an Echoplex or a tape delay that just gives you a repeat. "That's what we call it," explains Tom, "though doubler is kind of a misnomer. "Probably the most obvious departure in the Boston sound from your run-of-the-mill heavy metal sludge is Scholz' thick, yet clear lead guitar lines, partially accomplished with the aid of a device called a doubler, designed by Scholz and a friend. Funny, how this old GP article echos my original