Even­tide H3000 – the le­gend re­de­fined

Computer Music - - Make Music Now -

The era of the multi-pro­ces­sor truly be­gan in the mid-80s, with pop­u­lar rack­mount­able units such as the SPX90 from Yamaha (1986) and Ale­sis Midi­verb II (1987) su­per­sed­ing ped­als as the pre­ferred ef­fects for­mat.

The race was on to cram as many ef­fects as pos­si­ble into a bud­get-priced box. This was fine for the lo­cal blues bar, but stu­dio pros de­manded qual­ity over quan­tity.

In 1986, Even­tide (they’d ditched the Clock Works by then) gave them both in the form of the H3000 Ul­tra-Har­mo­nizer. The 2U unit’s name re­flected its abil­ity to per­form in­tel­li­gent di­a­tonic pitchshift­ing on in­com­ing sig­nals. Yet the name was some­what mis­lead­ing, in that har­mon­i­sa­tion was only the start of what the H3000 had to of­fer. In ad­di­tion to pitchshift­ing, the orig­i­nal H3000 of­fered other ef­fects such as dou­bling, cho­rus, de­lay, and re­verb. Th­ese ef­fects were ar­ranged into 11 dif­fer­ent al­go­rithms from which 100 pre­sets were built. Later ver­sions added a func­tion gen­er­a­tor, phaser, band de­lays and even sam­pling.

Dur­ing the H3000’s early run, a third-party add-on called Mod Fac­tory was re­leased by Cres­cent En­gi­neer­ing – which hap­pened to be the brain­child of Ken Bog­danow­icz, who helped de­sign the H3000 it­self for Even­tide, and who later founded Sound­toys. Mod Fac­tory gave the H3000 own­ers a mod­u­lar ef­fects plat­form with which they could de­sign and build their own al­go­rithms. Wildly pow­er­ful, it was rolled into the later H3500 and on through the H4000, and into the com­pany’s cur­rent high-end pro­ces­sors.

The H3000 was also ex­tremely suc­cess­ful, mak­ing the racks of big names like Steve Vai, Richie Samb­ora and Brian Eno.

Though Even­tide have con­tin­ued to re­lease suc­ces­sors with far more power, the H3000 is still sought af­ter. It’s a clas­sic worth own­ing – and cloning.

Even­tide’s H3000 might be the most revered mul­ti­ef­fects pro­ces­sor of all time, and for good rea­son: it sounds mar­vel­lous!

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