As much as I would LOVE to ask Eddie myself exactly what he did on all those famous tracks it doesn't look like he is going to tell me. I'm not great at explaining this stuff and it's all just my opinion and experience and what my ears hear anyway. So, take that dry left and that wet right recorded at the same levels like I did and pan your mix on what you record at about 50% left for the dry and 50% right for the harmonizer and you get what I got in that clip. The left sounds dry to me so if there is any harmonizer there it is very, very little. I hear harmonizer all over the right side, but I can't hear it on the left. If you can, listen to the song 5150 on a good system and isolate and listen to the left and right sides separately. It was also obviously before the H3000 was available and the only harmonizers out at the time were the H910 and H949. Some songs I think I can hear Two H910s, other songs just one. Just Fair Warning alone has a lot of differences in how much harmonizer is there from song to song. So, you have to use it very mildly and use your ears for the slight detune type of sound.Īnyway, I am not convinced that ED used -9 and +9 cents and so much delay and so on all the time. 987 or so (just guessing on the numbers because there is no way for me to be sure). 98 it is a more drastic pitch change like maybe. 996, but if you set it to the lower end of. 99 just barely underneath the 1.00 unison pitch it is just a few cents of pitch, maybe about.
The machine is mostly analog and if you set it to. The resolution on the old H910 is less than the H949 and everything that came after it. The dry/wet mix level is critical no matter how you use the harmonizers or how many cents of pitch you are using. My left cab in my stereo rig was all dry and my right cab was all H910. 99 and just under the point where it clicks over to 1.00 on the right side. In my clip all I used was the old H910 set to.
Honestly from listening to everything from Van Halen II through Balance I think he used all of those Eventide models as they became available to him and used them with a lot of different settings and mix levels. I have read a ton of stuff about how Eddie did this or that with H910s, H949s, H3000s, and so on. On your other question, I am not sure how well I can answer it but I will try. When they designed that algorithm for the Pitchfactor they were seeking to copy the H910 as closely as possible and they did a pretty good job of it. All of them are great and the Eclipse and H8000FW do amazing things, but the H910 algorithm on the PitchFactor gets closer to the real H910 than any of them. All of the Eventide equipment I own are two old original H910s, a PitchFactor, an Eclipse, and an H8000FW. My understanding, however, is that the H9 has the same H910 and H949 algorithms as the PitchFactor. I don't actually own an H9 and have never used one, so I really can't say how the H9 compares directly. 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.Thank you. 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.
Uad eventide h910 software#
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. Universal Audio announces the release of UAD Software v8.4, featuring four exclusive new plug-ins for UAD hardware and Apollo interfaces the Eventide H910 Harmonizer, Marshall Bluesbreaker 1962 and Silver Jubilee 2555 amplifiers, and UA’s own Oxide Tape Recorder. 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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