Eventide h910 agnello software#

Eventide h910 agnello software#

I now have come to feel that way about my plug-in folder, and their software recreations, just because then you have the ability to dial up unexpected possibilities. Susan Rogers of Prince fame (who we’ve been talking about lately) also talks about how she “had to have” her Eventide harmonizer and delays.

My apologies to the sound schools of the world.) What do you do with a delay? “Put stuff in it!” Do you need to know what the knobs are doing? No! (Sorry, I may have just spoiled potentially thousands of dollars in audio training. Here’s the story of the DDL 1745 from 1971, back when engineers had to “rewind the f***ing tape machines” just to hear a delay.Įventide founder Richard Factor started experimenting with digital delays while working a day job in the defense industry, at the height of the Vietnam War, working with shift registers that work in bits. You’d expect an electrical engineering tale to be dry as dust, but – this is frontier adventure stuff, like, if you’re a total nerd. Here’s the thing – whether or not you care about sounding like a classic record or lived through all of the 1970s (that’s, uh, “not so much” for me on both of those, sorry), the story of how this gear was made is totally fascinating. And that’s before even getting into Eventide’s harmonizers, delays, the Omnipressor, and many others. For instance, David Bowie’s “Low,” Kraftwerk’s “Computer World” and AC/DC’s “Back In Black” all use their H910 harmonizer, the gear called out specifically by the Grammy organization.

But you’ve heard the creations of Richard Factor and Tony Agnello, who remain at Eventide today (as do those inventions, in various hardware and software recreations, including for the Universal Audio platform). Tony Agnello (left) and Richard Factor (right) at the headquarters.Įlectrical engineers and inventors are rarely household names. Why are these engineers smiling? Because they got a Grammy for their inventions.