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Eventide Anthology X Effects Plug-In Suite

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  • #16
    And what about the Octavox? We won’t go into it at least for now, because the Octavox is basically like the Quadravox, but offers eight voices instead of four…so you can have twice as much fun (or get into twice as much trouble, depending on your priorities)

    Here’s a screen shot.



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    • #17
      So...what's up next? That's a tough call because there are still lots of plug-ins to cover. I called Phil O'Keefe, who is a veteran Anthology bundle user and a big fan of it, for a suggestion. He loves the UltraChannel and explained that it's so convenient to have everything you need in a channel strip in one place, so here we go...we'll start with an overview, then cover details of specific elements.



      Although most DAWs have many of the individual elements in the UltraChannel, this module's main strength is that it combines unusually full-featured versions of processors in a single plug-in. While not heavy on the CPU it's not light either, so it's probably not something you'd want to put on every channel. But for tracks where you plan to use a number of processing modules, like vocals and drums, the UltraChannel makes the tweaking process simple.

      Note that Anthology X also includes the EChannel plug-in, which is much lighter on your CPU and is sort of a "greatest hits" of what's in the UltraChannel. The EChannel will likely be all you need for many applications.

      One of the best features is you can drag and drop the Compressor, O-Pressor, 5-Band Parametric EQ, and Gate modules to create different orders. Want compression after the parametric, or before? No problem either way.

      Several of the modules have sidechaining, but unfortunately for Windows users, this is available only for AAX and AU versions. Let me be the first (actually, I'm probably not the first) to lobby for an Anthology X.1, with sidechaining for Windows that exposes the sidechain inputs as potential outputs for other DAW tracks.

      And now, the modules themselves. Note that the all the knobs and faders support mouse scroll wheel; for the EQ you can drag nodes around to choose gain and frequency, as well as hold ctrl or use the mouse scroll wheel to change the Q.
      • Input module with Phase reverse and Gain. I like how there's more meter resolution at higher levels.
      • Noise gate with sidechaining. However, note it does not have an attack time control.
      • Compressor. This has pretty much everything you'd want from a standard compressor, including Side Chain, Saturation, and De-Essing. Maximum compression ratio is 20:1, which is close to limiting but there's no limiting function per se.
      • The O-Pressor is a compressor-only derivative of the Eventide Omnipressor (the full version of which is also included in Anthology X, and is a very cool dynamics processor for reasons we'll find out before too long). The O-Pressor is a "character" compressor that can cause dynamics to cower in fear...this is a good thing, because we have the standard compressor when you want something more transparent. It can also do side chaining. Between the Compressor and O-Pressor, your compressor needs are covered.
      • The five-band parametric has three peak/notch bands, while the two "outer" bands add shelving and two low cut options (for the low band) and two high-cut options (for the high band). Gain is a generous +/-24 dB - considerably more than many EQs. I do wish the high and low cut had steeper rolloff options - you get -6 or -12 dB. I've found that very steep cuts, like -48 dB, can be very helpful for cleaning up low end crud and taking some of the "edge" off high frequencies.
      • The Output stage is what you'd expect, and like the input stretches the meter resolution for higher-level signals...I like that a lot. Even better, there's a transformer emulator. This is a subtle but extremely useful addition that will make you wish other DAWs had a similar option (although some do, disguised as "console emulation"). It's after the output control, so you can overdrive it if you want - I found this could really add a lot to bass parts, among other sounds.
      • The Micro Pitch Shift module has a fixed position before the output stage, which is logical as it controls imaging. It's also in parallel with the Stereo Delays module (see next). The Micro Shift is a unique module that bears further description, so we'll cover it in more detail in subsequent posts.
      • Finally, the Stereo Delays module has what you'd expect - delay, pan, tempo sync, etc. - but the really cool feature here are the Feedback options. Although you can be normal and feed back the delay output to the delay input, you can also choose to route the output back to the input of the EQ, Compressor, O-Pressor, or Gate. This allows for all kinds of compressed, filtered, ducked, and gated delay effects. Like the Micro Pitch Shift module, we'll give this a close look in the next few posts, which will (of course) also contain audio examples.
      One other point that's well worth mentioning - and is also true of the other plug-ins - is Eventide likes to include lots of presets. Although I usually set up processors from scratch, many of the presets are actually very useable "as is," and if nothing else, serve as a quick tutorial on what a plug-in can do - just step through the presets, like I did with the Band Delays example, and you'll get an idea of the range of possible sounds. There are also various plug-ins with "signature" presets - this screen shot shows the presets contributed by well-known sound designer Richard Devine, but as you can see there are plenty of other categories.

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      Last edited by Anderton; 12-01-2015, 12:09 PM.
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      • #18
        We interrupt this look at the UltraChannel to bring you the following: "Today Eventide announced the release of the H3000 Band Delays plug-in for AAX, VST, and AU. This unique multi-effect plug-in, originally included in Eventide’s Anthology X bundle, is on sale for $99 until December 31, 2015. (Normally priced at $199.)"

        For more information. check out the Eventide Band Delays landing page.
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        • #19
          This video shows using the UltraChannel with bass. The first example shows how you can overdrive the output transformer emulation to good advantage. The first half shows how the bass is overloading the output, and the resulting distortion. The second half shows what happens when you enable the "output transformer" - it absorbs the transients and gives more of a soft saturation than clipping, but also, the bass acquires a bit more "body" and depth.

          The second example plays the bass without any processing, then with compression (note the spectrum analyzer toward the left to see the results of the various processors). I tried to choose a compressor setting somewhere between too subtle to really hear the difference, and hitting you over the head with it - we'll have an opportunity for the latter with the Omnipressor. Finally, you'll hear EQ placed before the compressor so it can "push" high and low frequencies to accent pick noise and bottom respectively, and then back to bypassed for a final comparison.

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          • #20
            Before moving on to the next plug-in, I most certainly agree with Phil O’Keefe’s assessment that this is indeed a very useful “one size fits all” channel strip plug-in. Here are some thoughts about the UltraChannel after testing it out for a while - the high points, and some suggestions for improvements.

            MAJOR COOLNESS FEATURES
            • The Micro Pitch Shift is tremendous. It’s like a compact “short delays laboratory” for adding ambience, depth, and width. One interesting technique: with significant amounts of Depth and/or Width, you’ll hear a bit of a “slapback” echo, which of course is expected. However if you want the Depth and Width benefits without a delay, set the Mix parameter to processed sound only, then nudge the track forward in time to have it sync up time-wise with the other tracks.
            • The option to send the Stereo Delays feedback through not just EQ but also the O-Pressor, Compressor, or Gate is genius. I can see some people using the UltraChannel solely for delay because this is so useful and allows creating sounds you can’t get other ways.
            • Being able to change the module order adds major flexibility to the UltraChannel. A lot of channel strip plug-ins (probably even the vast majority) don’t let you do this.
            • I have a possibly perverse affection for the Omnipressor, so appreciate the inclusion of the O-Pressor in addition to the more conventional compressor. When we cover the Omnipressor later on you’ll understand why I dig it so much.
            • The Transformer option is subtle, but can add that extra little “something” that makes a track stand out, especially when overdriven. Short story: Wendy Carlos had an early Akai digital recorder. When I had the opportunity to visit and heard it, I couldn’t understand why it sounded so much more “musical” than other ones I’d heard. The answer was she had simply added input and output audio transformers.
            • I like the way the metering focuses on the higher levels so you can really see what’s going on. One of the reasons I use SONAR is because of the ease of restricting meter ranges to the levels of interest; this feature is similar.
            • Despite the plethora of controls it’s not a big, sprawling plug-in that takes over your UI but is compact and graphically efficient.

            SUGGESTIONS FOR THE FUTURE
            • Release the Micro Pitch Shift as a stand-alone plug-in for the next Anthology version. Of course you can just drop in the UltraChannel and ignore the other modules, but a separate plug-in would be a nice extra.
            • The parametric EQ ranges are restricted; the five bands cover 5 Hz – 800 Hz, 100 Hz – 2 kHz, 500 Hz - 8 kHz, 1 kHz - 20 kHz, and 5 kHz to 20 kHz, so you need to think ahead about which bands you want to use. For example, suppose with an amp sim you want a notch at 8 kHz to take out some fizz, but also a high shelf to add a little “air.” So, you use bands 4 and 5 respectively. Now you want to add a slight cut at 3.5 kHz to reduce harshness, which you do with band 3, but also want a fairly narrow boost at 2.5 kHz to add a little more midrange. Bands 1 and 2 can’t cover that range. In practice this hasn’t been a problem but in some corner cases, you might want the EQs to all cover the maximum range instead of overlapping (although there may be a technical reason why it’s done this way).
            • For the Low and High cut options, I’d like to see more than 6 and 12 dB/octave slopes. I use really steep slopes (e.g., 48 dB/octave) quite a bit to clean up the low or high end of various signals.
            • I wish the sidechaining accepted external inputs in Windows, not just the Mac.

            Overall, even though the UltraChannel may not have the “sex appeal” of a unique device like the H3000, it’s a great addition that in my opinion adds considerable value to Anthology.
            CHECK IT OUT: Lilianna!, my latest song, is now streamable from YouTube.

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            • #21
              Now let’s look at the EChannel, which is going to be a very short look because it’s just a subset of the UltraChannel that’s the “bread and butter” version—no Stereo Delays, O-Pressor, or Micro Pitch Shift modules. The Gate, Compressor, and EQ have the same functionality as the UltraChannel, and you can still change the module order. Use this one when you want a slightly more compact UI, or need to resist the temptation to use the O-Pressor, Delays, and Micro Pitch Shift on everything


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              • Phil O'Keefe
                Phil O'Keefe commented
                Editing a comment
                I believe it also uses less CPU resources than the UltraChannel, so it's great for those times when you need what it provides (but not all the features of the UltraChannel) and want to save the processing power of your system for other things.

            • #22
              Apologies for the delay, but I bit the bullet and upgraded my computer to Windows 10. I’m happy to report that all the Eventide plug-ins work just fine, but also, the iLok (which just occurred to me is an anagram of Loki, the Norse god best known for his mischievous nature) didn’t ask for new drivers or anything. So far, so good.

              Now let's turn out attention to the H910 Harmonizer. I’d forgotten just how much fun the H910 could be, despite—or actually, because of—its mostly lo-fi nature. Not being able to afford a real Eventide Harmonizer, back in the day I bought an MXR Pitch Transposer and sold it when higher-quality pitch transposers became available. However, I always missed the funky effects it could deliver, particularly the “bell tree” effects where a pitch spiraled upward or downward, with the spiral lasting as long as the feedback amount you set. The H910 not only brings back that type of sound, but more.



              The Harmonizer was introduced in 1975 and went out of production in 1984—imagine a digital device with a nine-year lifespan these days. It’s one of the earliest digital effects I remember and was the first digital device to generate a parallel harmony line. Those who aren’t familiar with the type of sound the original Harmonizer produced will definitely want to check out the audio examples in the next post, but meanwhile, here are the basics.

              The H910 is super-simple: Input control to adjust level, a control to set pitch (plus or minus one octave), and a feedback control. Feedback occurred through a delay, which was not continuously variable but set by buttons for 7.5, 15, 30, and 60 milliseconds. However, you could hit more than one button which allowed delays in 7.5 ms increments (e.g., if you wanted 37.5 ms you’d use the 30 + 7.5 buttons) or push them all in to max out at 112.5 ms. The bonus feature was you could push another button and have delay only—yes, a digital delay line. My, how we take things for granted these days…

              You can control pitch manually via the main dial, via automation from your DAW (all parameters are automatable), or even from a MIDI keyboard—a much more convenient option than the dedicated HK940 keyboard controller Eventide sold to control pitch (the H910 follows pitch bend messages as well). The Mix slider sets the balance of dry and harmonized sound.

              Finally, there’s an Anti-Feedback mode for live performance. This isn’t as much about harmonization as it is about subtly shifting pitch to inhibit feedback—if the pitch changes constantly, it’s harder for feedback to “take hold.” In this mode, you choose the A-F switch, and the main control affects the amount of pitch deviation. You can get around 20% - 35% deviation without hearing any significant effect with vocals; the higher the percentage the greater the immunity to feedback, but the more unnatural the sound.

              NON-LO-FI SOUNDS

              Although I mentioned the funky nature of the transposed sound, there are two main ways where the sound is not lo-fi at all. The Harmonizer’s chorus effect has a certain liquid quality I just don’t hear from other choruses. Set the delay so the pitch “jitters” between 1.00 and 1.01, and enjoy. Sometimes there’s a very slight “hiccup” when the Harmonizer does its splicing thing, but it’s minimal—you wouldn’t notice it in the context of a track. The video highlights when the splice occur by adding a brief red flash, otherwise you might miss it if you’re not paying attention.

              Another effect I really like that doesn’t sound lo-fi, despite doing quite a bit of pitch change, is doubling a harmonized “rise to pitch” or “fall to pitch” using automation so that a chord or note settles to pitch. It’s easier to see and hear this than attempt to describe it, so check out the video.

              The audio/video example plays a progression of five chords with the H910’s manual pitch just a bit above 1.00, then a bit above 1.01, and then with the automated fall/rise to pitch.


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              • #23
                Time for some fun, eh? Let’s put drums through the H910 Harmonizer, and hear what happens when we turn up the feedback, introduce delay in the feedback, and change the pitch. This produces the “bell tree” effect because each repeat goes through delay, and the delay is cumulative- in other words, if the first repeat is transposed by 20 cents, when it repeats it will be transposed another 20 cents, and then on the next repeat another 20 cents, and so on.

                The captions in the video pretty much tell you what’s going on but if you have any questions, feel free to post them here.


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                • #24
                  Before we bid a fond farewell to the H910 (at least for now) and its classic "early-age-of-digital" sounds, let's do some guitar madness.

                  The first part of the example shows what happens when you feed distortion (from the SONAR "Hard Rock" CA-X amp) into the H910, and transpose down an octave. It provides a low-frequency sludge that can add some interesting depth to your guitar when you want some twisted metal or industrial fun. I've mixed the octave lower signal up high so you can really hear it, but in a recording context, you might want to mix it down a bit...or hey, limit the hell out of it and mix it way up...whatever suits your fancy

                  In the second half of the example, you'll hear what happens when the guitar plays a lead and we kick the transposition up a fifth. You may have heard this sound before if you listen to music made during the H910's heyday.

                  CHECK IT OUT: Lilianna!, my latest song, is now streamable from YouTube.

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                  • #25
                    Here's a heads-up: The UltraChannel is currently on sale for $80 off. From a promotional email Eventide sent out today:

                    "Last month we offered H3000 Band Delays for 50% off. Well now we’re upping the ante this time by offering UltraChannel at a ridiculous 80% off. Why would we do this? Remember our “Free UltraChannel” promotion from a few years back? You either own the plugin, are mad you missed it, or have friends that envy you. Pass the word along that for only $49 this is a must-have tool for mixing and mastering.

                    And, yum, there’s icing on this cake! If you own UltraChannel (even if you got it for free) you qualify for special upgrade pricing to Anthology X."
                    CHECK IT OUT: Lilianna!, my latest song, is now streamable from YouTube.

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                    • #26
                      The Omnipressor

                      This is the most twisted, aggressive, nasty, and yes, seductively versatile dynamics control device I've used, whether we're talking about the original hardware (which was made from 1971 to 1984) or the software re-creation we're putting under the microscope in this Pro Review. It's mono-in, mono-out, which is somewhat of a bummer...but that's how the original version worked. So if necessary, I split a stereo track into two mono tracks, and carry on from there. You can't link the controls, but there aren't so many that you can't duplicate the settings—however the good news is that some of the coolest Omnipressor sounds I've found resulted from slight control mismatches.





                      Incidentally, for those who are fanatics about vintage gear, the software version models the 2830, which had a black meter; the 2826 had a white meter. As far as I know the only difference between them was in fact the meter color.

                      Despite the name, the Omnipressor is not just a compressor, it's a dynamics processor in the truest send of the word. When it thinks it's a limiter, you can pump 30 dB over the threshold into the input, and have only a 6 dB increase at the output. There's also a mode Eventide calls “Infinite Compressor,” which is basically an auto-level sustainer. And there's gating, expansion, and an Omnipressor exclusive—dynamic reversal. This is like a compressor turned upside-down: an input level 10 dB above the threshold produces an output 10 dB below the threshold, and an input level 10 dB below the threshold produces an output 10 dB above the threshold. These modes are all selected by a continuously-variable (not stepped) variable Function knob. To help you figure out what's going on, a green LED lights when gain is being reduced, and a red LED when the gain is being increased.

                      For a refreshing taste of normality, there are controls for Threshold, Attack Time, and Release Time. Also, the meter can show input level, gain reduction, or output level.

                      Some of the other controls won't be familiar unless you worked with the Omnipressor before. Three attenuator Input Cal switches let you drop the input level 10, 20, or 30 dB. Similarly, three Output Cal switches can boost gain by 10, 20, or 30 dB. The Bass Cut switch is way cool for kick drum fans, as it attenuates bass frequencies going to the compression control circuit so the bass isn't as compressed (or stepped, squashed, or mutilated, depending on how you're using the Omnipressor at that moment).

                      The Atten Limit control places a “governor” on how much attenuation occurs when compressing (from 1 dB to 30 dB), and a related Gain Limit control does the same thing for expansion by limiting gain from 1 to 30 dB. Because I'm running this on Windows, there's no sidechain functionality. I keep hoping there will be an Anthology version X.I that includes sidechaining capabilities with Windows...

                      But no words will suffice to describe what the Omnipressor does, so without further ado, here are two videos with representative examples from the factory presets—and thanks to the miracle of picture-in-picture, you can see the preset names as they change.

                      The first video covers compression and limiting, the second shows expansion and gating. Note how clicking the little + sign can advance through the presets; the last preset in each video is something I came up with, so it's not included with the stock factory presets.



                      Last edited by Anderton; 02-17-2016, 12:40 AM.
                      CHECK IT OUT: Lilianna!, my latest song, is now streamable from YouTube.

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                      • #27
                        I know it's not part of the Anthology X bundle, but some readers may be interested to know that Eventide's Blackhole reverb is also on sale (for only $49 - normally it's $199!) until the end of this month.

                        What's even better is that Anthology X owners qualify for an even better deal - you can pick it up for only $19 if you act fast and get it by the end of the month.

                        Here's the press release with all the info:



                        Eventide Blackhole: Hollywood's Secret Weapon for Reverb
                        Plug-in on sale for 75% off until 3/31/2016


                        March 1, 2016, Little Ferry, NJ —Today Eventide announced a limited-time discount on the purchase of its Blackhole reverb plug-in. While most reverbs are constrained by the physics of the real world, Eventide’s Blackhole reverb creates virtual spaces that could never exist in our reality. At large sizes, its soft attack and lingering, harmonic tails allow it to really shine on guitars, strings and pads. At small sizes those very same qualities can help add an angelic sheen to vocals or turn a simple drum track into an otherworldly rhythm section.

                        Blackhole is destined to be one of the tools that musicians, engineers and producers turn to time and again when reality just isn’t enough.

                        Blackhole Features:

                        • Incredibly easy to use with over 50 presets, including some by artists such as Richard Devine, Flood & Alan Moulder, Vernon Reid, Jonsi & Alex from Sigur Rós and John Agnello.
                        • Useful for highlighting key instruments or painting a backdrop for a mix
                        • Supernatural settings for abstract spatial effects and drones
                        • Subtle settings for ambient washes and track highlighting
                        • Unique “Gravity” control reverses the arrow of time by inverting the decay
                        • Kill Switch mutes the input so only the reverb is heard
                        • Innovative Ribbon and HotSwitch controls allow for changing any combination of parameters simultaneously
                        • Mix Lock allows for scrolling through presets while keeping the wet/dry mix constant
                        • Fully flexible mono and stereo options. Bring new realms of stereo imaging to mono instruments

                        Blackhole is on sale for $49 until March 31, 2016 (MSRP $199). Owners of Anthology X qualify for the crossgrade price of $19. A fully-functional, 30-day demo is available at any time. Visit eventideaudio.com for more information.


                        Specifications: Mac OSX 10.7+, Windows 7+; AAX, AU, VST; no iLok dongle required.

                        Links:

                        Blackhole Promo: http://bit.ly/blackhole-sale

                        Blackhole Product Page: https://www.eventideaudio.com/blackhole

                        Eventide website: https://www.eventideaudio.com Videos: https://goo.gl/CxxuTL

                        Last edited by Anderton; 03-10-2016, 12:37 AM.
                        **********

                        "Look at it this way: think of how stupid the average person is, and then realize half of 'em are stupider than that."
                        - George Carlin

                        "It shouldn't be expected that people are necessarily doing what they appear to be doing on records."
                        - Sir George Martin, All You Need Is Ears

                        "The music business will be revitalized by musicians, not the labels or Live Nation. When the musicians decide to put music first, instead of money, the public will flock to the fruits and the scene will be healthy again."
                        - Bob Lefsetz, The Lefsetz Letter

                        Comment


                        • #28
                          Of all the Anthology X effects, this one surprised me the most because I was simply expecting a high-quality digital reverb. Ever since the advent of digital reverb, I don’t really use it that much because it just doesn’t sound like the real acoustic spaces in big studios back in the day. To be fair I do have some excellent digital reverbs, but I treat them not so much as emulations of acoustic spaces, but for their ability to provide the unique effects available with digital reverb. When I need realism I go for convolution reverb. Even though there’s not that much you can do with them outside of certain proscribed limits, what they can do within their limits is impressive.



                          However, the Eventide UltraReverb gives an extremely “acoustic” sound, and because it synthesizes the reverb sound rather than using convolution, you have a lot of control. There are nine reverb algorithms: Hall 1, Hall 2, Chamber 1, Chamber 2, Room 1, Room 2, Plate 1, Plate 2, and Ambience. The controls are visible in the screen shot, but if you want the complete details, the UltraVerb documentation tells all.

                          But Eventide takes the concept of control further by including stereo delay with tempo sync that can go pre- or post-reverb, four Eqs (for the reverb itself, pre-effect, post-effect, and for the delay), a “bitcrusher”-type lo-fi parameter for the reverb, modulation depth and rate parameters à la Lexicon, and a compressor that can be pre- or post-reverb. What these “extras” mean is you can do all kinds of weird and unusual reverb effects, which perhaps explains why there are so many “designer” presets from luminaries like Richard Devine, Sasha, Andrew Scheps, Chris Carter, and others. Also note that the EQs themselves are interesting: high and low shelf (cut only) for the reverb; standard high shelf, low shelf, and mid parametric for the other three; and the Delay EQ is in the delay’s feedback path, so each echo can have a different timbral character.



                          You want presets? You got 'em

                          That’s all well and good, but I can get weird sounds out of just about anything if I try hard enough...it’s the airiness, lack of periodicity, and transparent character that lift this reverb out of the ordinary. I’m seriously tempted to redo some vocals I’d cut that had significant amounts of reverb, because this just sounds so much more natural. The only issue that keeps the UltraVerb from perfection is on some of the algorithms, you can hear a slight graininess toward the end of the tail. This was least apparent in the halls, and most apparent (at least to my ears) with the ambience algorithms.

                          Rather than play loops or program material that would obscure the reverb’s clarity, the audio/video demo will play a snare+kick hit together. Pay attention to the tail’s sound quality, and you’ll hear (hopefully despite YouTube’s barbaric compression algorithm) why this reverb has impressed me so much.



                          Last edited by Anderton; 03-10-2016, 12:43 AM.
                          CHECK IT OUT: Lilianna!, my latest song, is now streamable from YouTube.

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                          • #29
                            I wonder how similar the UltraReverb in Anthology X is to the Reverb plugin in the Anthology II bundle.

                            Can the folks at Eventide please tell me about how the two compare?

                            FWIW, I use the Reverb from Anthology II all the time (and love it!), and if the Anthology X version is the same or similar, I may need to get it so I can use it in Sonar and (later versions of PT after PT10) too.
                            **********

                            "Look at it this way: think of how stupid the average person is, and then realize half of 'em are stupider than that."
                            - George Carlin

                            "It shouldn't be expected that people are necessarily doing what they appear to be doing on records."
                            - Sir George Martin, All You Need Is Ears

                            "The music business will be revitalized by musicians, not the labels or Live Nation. When the musicians decide to put music first, instead of money, the public will flock to the fruits and the scene will be healthy again."
                            - Bob Lefsetz, The Lefsetz Letter

                            Comment


                            • #30
                              Also, it looks like Eventide has a new, unannounced plugin that they're currently keeping secret, but that we will hopefully hear more about soon... based on the Visconti connection, I'm guessing it's going to be a pitch shifter of some kind.



                              ____________________

                              Secret Effect Used on HBO's Vinyl


                              March 11, 2016, Little Ferry, NJ — For the last two years, Eventide has been working with renowned producer Tony Visconti on an innovative plugin inspired by some of his most iconic work. The project was conceived after a meeting at Human Studios in NYC with Visconti and Eventide’s Adrienne Humblet, Joe Waltz and Tony Agnello. The purpose of the meeting was to introduce Visconti to some of Eventide’s latest products as he was about to embark on the production of David Bowie’s Next Day.

                              Throughout the meeting Agnello and Visconti discovered the many ways their lives and careers had intersected. Both Tonys were born and raised within blocks of one another in a Brooklyn Italian-American neighborhood and grew up to have parallel careers respectively building and using Eventide gear. In 1974 Agnello invented the world’s first digital effects box, the H910 Harmonizer®, and Visconti had obtained the first one in the UK. At their meeting, Visconti recounted the ways in which he had used various Eventide effects to create some of his signature sounds. In fact, Visconti was the very first to discover some of the unique possibilities of the groundbreaking Harmonizer - effects which had other producers scratching their heads wondering how he was able to do what he did.

                              The Eventide team listened as Visconti explained how he and Bowie worked together on the album Heroes. He described how powerful an instrument Bowie’s voice was (what he called “Bowie histrionics”) and how he was able to harness that power by employing various microphone techniques. That meeting inspired the Eventide trio to create a plugin that would mimic and build upon the real world effects that Visconti had created. With Waltz heading up the project and Humblet writing the code, the plugin began to take form with Visconti and Agnello guiding it along the way. Now, after two years of collaboration, the plugin is approaching public release.

                              Stewart Lerman, the Original Music Producer of Martin Scorsese’s HBO series Vinyl, was part of the beta program and quickly found that the plugin was capable of creating new and unique soundscapes. He immediately used it on a track for an upcoming episode of Vinyl - the first commercial use of this still secret effect. Stay tuned for more…



                              About Eventide

                              For over 40 years, Eventide has remained at the forefront of recording technology. In 1975 they revolutionized the audio industry by creating the world’s first commercially available digital audio effects unit. Since then their legendary studio processors have been heard on countless hit records.


                              Eventide and Harmonizer are registered trademarks of Eventide Inc. ® 2016 Eventide Inc.


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                              "Look at it this way: think of how stupid the average person is, and then realize half of 'em are stupider than that."
                              - George Carlin

                              "It shouldn't be expected that people are necessarily doing what they appear to be doing on records."
                              - Sir George Martin, All You Need Is Ears

                              "The music business will be revitalized by musicians, not the labels or Live Nation. When the musicians decide to put music first, instead of money, the public will flock to the fruits and the scene will be healthy again."
                              - Bob Lefsetz, The Lefsetz Letter

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