The delay’s feedback is controlled by the knob right next to the input signal and the delay signal can be isolated by the “delay only” button in case the user doesn’t want the pitch shifting to happen. Then we move on to delay setting, which is controlled by four combinable buttons (7.5, 15, 30 and 60 milliseconds) with up to 112.5 mS. It’s apparently simple and straight-forward, but just apparently - it’s quite an intricate beast! Having said that, it all starts on the left side with the input level, which isn’t just a plain gain setting as it also affects the unit’s headroom and what happens further down the road - Eventide recommends to crank up this knob until the “limit” LED blinks to maximize the effect, then drop a little to avoid clipping - or just drive it into distortion territory if you’re after such thing.
I’ll follow the hardware layout for a brief explanation but first a disclaimer: the controls are obviously intertwined and don’t follow quite the linear logic that I’m about to adopt for this description, so keep that in mind and don’t take this overview as any sort of rule - please read the manual for a thorough comprehension of the signal path.
The H910 is a time, pitch and feedback manipulator with apparently primitive controls for today’s standards but immensely powerful when you put it in perspective - so powerful that it remains relevant and still sparks interest in 2016. The scope: The first harmonizer, the one who started it all for digital effects and the piece that launched Eventide to its glorious path back in 1976 when it was introduced. Formats: AAX, AU, VST for Mac and Windows.ĭRM: iLok (2 activations, USB key not required)
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