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Eventide Anthology X Effects Plug-In Suite

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  • #1
    Here’s the roster of included plug-ins. There’s a whole lot of info on the Eventide web site, so if you want a preview of what we’ll be covering, check out the Anthology X Product Page.

    Eventide Clockworks Classics
    • Instant Phaser
    • Instant Flanger
    • H910 Harmonizer®
    • H910 Dual Harmonizer®
    • H949 Harmonizer®
    • H949 Dual Harmonizer®
    • Omnipressor®

    H3000 Multi-Effects
    • H3000 Factory
    • H3000 Band Delays

    Mixing and Mastering
    • UltraChannel
    • EQ65 Filter Set
    • EQ45 Parametric EQ
    • EChannel
    • Precision Time Align
    • Precision Time Delay

    Next Generation FX
    • UltraReverb
    • Quadravox
    • Octavox
    The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and Listen to my music on, and visit Thanks!


    • #2
      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.

      Attached Files
      Last edited by Anderton; 12-01-2015, 12:09 PM.
      The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and Listen to my music on, and visit Thanks!


      • #3
        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.
        The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and Listen to my music on, and visit Thanks!


        • #4
          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.

          The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and Listen to my music on, and visit Thanks!


          • #5
            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.

            • 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.

            • 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.
            The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and Listen to my music on, and visit Thanks!


            • #6
              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

              Attached Files
              The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and Listen to my music on, and visit Thanks!


              • 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.

            • #7
              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."
              The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and Listen to my music on, and visit Thanks!