Those blocks are: delays (1 and 2), pitch shift (1 and 2 the famous Eventide processors which can be used here in full pitch shift or detune modes), filter (1 and 2), Ampmod (1 and 2), Scale (1 and 2), LFO (1 and 2), envelope (1 and 2) and mixer (1, 2, 3 and 4).
This section, in the bottom left-hand corner of the main page, allows you to patch together the effects modules you want to use from a combination of 18 separate effects blocks, with restriction over which items can be wired together. However, the advantages of being able to show many more parameters at once than the original hardware could are immediately evident here, with each program fully configurable through a patchbay.
The architecture of the hardware H3000 remains in place for the plug-in, with a rich list of presets available, including many designed by a celebrated list of producers. An unlimited 2-week demo is available via the Eventide site. Until now, only Pro Tools TDM users have had software access to these goodies but, so long as you're in possession of an iLok 2 key, the Native version brings the H3000 methodology to AAX, VST and AU compatible DAWs in 64-bit. So, it's with excitement that we can hail the arrival of the H3000 Ultra-Harmonizer Native Plug-In, which brings much of the functionality of the original hardware to the software platform of your choice, at a mere fraction of that cost. The H3000 was expensive though, and while its core technology has endured through several upgrades, so has its price tag which runs to several thousand pounds. Among the early adopters of the H3000 was Brian Eno, who so loved the unit, he wrote Eventide a letter congratulating them on their design, which was pinned to the office wall as a trophy. Developed by Ken Bodganowicz, Bob Belcher (both now of SoundToys fame) and Dave Derr (who founded Empirical Labs and designed, among other things, the Distressor), it grew up in an era when companies like Lexicon realized that the future of effects processing was "chaining." If you could develop hardware which offered an almost modular approach to effects processing, so that artists and producers could bring different effects types together in musically interesting ways, they'd be hooked.Īnd so it proved.
However, as exaggerations go, it's by no means a big one.