#EVENTIDE HARMONIZER H910 BOWIE SOFTWARE#

I was able to use the studio when it wasnвЂ™t booked to record my friends and relatives. On the second floor of EventideвЂ™s building was a recording studio вЂ“ Sound Exchange. I donвЂ™t believe that any recording studio had more than one DDL installed because they were so expensive. Plate reverbs had replaced вЂecho chambersвЂ™ but fell short in that, unlike a real room, a plate reverbвЂ™s onset is instantaneous.

They were used to replace tape delay.ДЄt the time, studios were using tape delay for ADT (automatic double tracking) and, in some cases, as a pre-delay to feed plate reverbs. It offered 200 msec of delay for the price of a new car - US$4,100 in 1973 which is equivalent to ~$22,000 today! The fact is that DDLs were expensive and rare and only installed in a few world-class studios. It predated memory (no RAM), LEDs (it had incandescent bulbs), and integrated Analog-to-Digital Converters. At that time, there were no digital audio products of any kind in any studio anywhere. 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 youвЂ™ve already told this amazing story of the Omnipressor.

The first commercial digital delay looked likeвЂ¦ 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 вЂ“ in a way perhaps only an engineer can. Here, inventor Richard Factor explains how its creation grew out of the Richard Nixon tapes. Or, thereвЂ™s the Omnipressor, the classic early 70s gear that introduced the very concept of the dynamics processor.

#EVENTIDE HARMONIZER H910 BOWIE 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 weвЂ™ve been talking about lately) also talks about how she вЂњhad to haveвЂќ her Eventide harmonizer and delays. My apologies to the sound schools of the world.)

What do you do with a delay? вЂњPut stuff in it!вЂќ Do you need to know what the knobs are doing? No! (Sorry, I may have just spoiled potentially thousands of dollars in audio training.

HereвЂ™s the story of the DDL 1745 from 1971, back when engineers had to вЂњrewind the f***ing tape machinesвЂќ just to hear a delay.Д®ventide 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. YouвЂ™d expect an electrical engineering tale to be dry as dust, but вЂ“ this is frontier adventure stuff, like, if youвЂ™re a total nerd. HereвЂ™s the thing вЂ“ whether or not you care about sounding like a classic record or lived through all of the 1970s (thatвЂ™s, uh, вЂњnot so muchвЂќ for me on both of those, sorry), the story of how this gear was made is totally fascinating. And thatвЂ™s before even getting into EventideвЂ™s harmonizers, delays, the Omnipressor, and many others. For instance, David BowieвЂ™s вЂњLow,вЂќ KraftwerkвЂ™s вЂњComputer WorldвЂќ and AC/DCвЂ™s вЂњBack In BlackвЂќ all use their H910 harmonizer, the gear called out specifically by the Grammy organization. But youвЂ™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.Д®lectrical engineers and inventors are rarely household names. Why are these engineers smiling? Because they got a Grammy for their inventions.

Eventide harmonizer h910 bowie