#Uad eventide h910 software#

This was evident in the way that the display would flicker between pitch ratio readings. The system clocks at the heart of the design drifted and wobbled introducing a degree of randomness in the effect not found in later crystal-based, precise digital devices. The design predates the introduction of the CD and digital audio sample rate standards (e.g. In addition to the glitch, all of the quirkiness of the original H910 has been emulated. Not surprisingly, artists found creative ways to use the glitch, and, in fact, years later when the H949 was introduced with advanced de-glitching circuitry, some users were disappointed that the glitch was gone. The original H910вЂ™s unique pitch change method introduced random вЂglitchesвЂ™ into the audio and the word вЂglitchвЂ™ into the audio engineerвЂ™s vocabulary. Stereo (cross-unit) Feedback can cause the incoming signal to shift up and then down continuously.Easily fattens and thickens instruments when assigning opposite pitch ratios.Recreates two H910 units running in parallel to create doubling effects and other unique sounds.Mix Lock allows for scrolling through presets or settings while keeping the dry/wet mix constant.Individually control delay outputs and dry/wet mix.Self-oscillation - create colorful, unique sound effects and drones.

#Uad eventide h910 software#

Delay rhythms and melodies to create everything from slap-back echoes to feedback chaos. 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 UAвЂ™s own Oxide Tape Recorder.Modify pitch by musical intervals (diatonic) to harmonize vocals or solo instruments.Optional вЂњglitchingвЂќ of original H910 hardware to create unpredictable sounds as it alters pitch.Anti-Feedback modulates the pitch around unity for a subtle or wild effect.

Perform perfect pitch changes, controlled manually via MIDI or with Anti-Feedback.True analog modeling of highly nonlinear electronics for faithful reproduction of the original H910вЂ™s juicyness and grit.OUT2 Delay Group adds inspiring attributes to your sound.The built-in envelope follower makes exploring these possibilities easy. Envelope Follower - Engineers and producers discovered that sending a control voltage to the hardware H910 could be used to slightly (or massively) vary the pitch, creating entirely new sounds.With the H910 plug-in you can easily use MIDI to control pitch and harmonization in real-time. Keyboard and MIDI mapping - The original H910 featured a keyboard remote control which was used live by several artists including Elton John.Eventide H910 Harmonizer: Introduced in the mid-'70s, is a unique analog/digital circuit generated iconic pitch change, delay, glitch, and modulation effects. This all adds up to a hefty price tag, but in the end, the quality of UAD plug-ins in renowned. 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. They require UAD-2 DSP Accelerator hardware or the Apollo audio interfaces to be used. Producer Tony Visconti used the H910 to achieve the now-legendary snare sound on David BowieвЂ™s Young Americans, and Tony Platt did likewise on AC/DCвЂ™s Back in Black. Its unique analog/digital circuit generated iconic pitch change, delay, and modulation effects in previously impossible combinations with a sound thatвЂ™s prized to this day. 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. EventideвЂ™s H910 Harmonizer Introduced in the mid-вЂ™70s, the Eventide H910 Harmonizer was the first commercially available digital audio effects unit. 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 CityвЂ™s Channel 5 putting an H910 to work, downward pitch shifting the audio portion of вЂњI Love LucyвЂќ 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.