Latest User Reviews

Had it in the studio from 2003 to 2016. Reliable and user friendly technique and quality. I really miss that thing. One of the best FX all rounder for electronic music studios! Design, Quality and FXs are premium!

It does everything…four times over. I almost always use all four processors for a single source and get excellent results. A luxury I know since I have three available for use. Typically Vocals and Guitar are the two instruments that can gain from multiple effects. Vocals use a compressor, gating, eq, and reverb, leaving me some other effect to use intermittently such as chorus, echo, distortion, or flanging. Same for guitars. I’ll often use a amp simulator (3 types) and maybe a speaker simulator, leaving me with two other processors for multi-effects such as chorus-delay, or flanger-delay, or dual pitch shifting. You see, there are a lot of possibilities.

I’ve also used it live as 4 compressors – one for each vocal mic, but I found it better to just use two 1U dual compressors for the instant knobs twist and gain reduction LEDs. I have also used it as a dedicated voice processor for live use, and using all four processors in series can even make me sound good!

If you have the mixer, you can use to aux sends for two dual-processor effects, or if you have 4 sends, up to 4 individual effects. Once you understand the routing switching and the switching method of the jacks it’s easy to use 1, 2, or 4 effect in/outs. 3 effect in/out (as in two single and one dual effect) is not really supported, but easy enough to set up with a short patch cable. You just can’t switch it around from the front panel. That’s not so bad though since seldom will you need to change the number of ins and outs on the fly.

Drawback: Great MIDI implementation but sadly the volume control for delay line effects is on the output, not the input, so you will have a harder time queing the exact phrase that should be echoed. You will need a second processor before the delay effect to do that – not a problem if you wanted a second effect in series but it is a limitation.

The rooms and plates sound fine. So does the hall for some things but somehow the hall doesn’t seem so useful to me – I guess it has a bit of a quirky sound. So if you want a really freakin’ good reverb, I’d use the room & plate in parallel or series, or use some of the non-linear (i.e. reverse) reverbs. to me they sound better. The 8-voice chorus is to me a bit much – to smeary or something. I prefer the simpler eq-chorus-ddl effect since it has a cleaner chorus and includes more eq and delay effects that can be used or not.

The system has a lot of programability and that makes this very flexible. As one example, if you have one or up to four inputs, the output of the effect can still remain in stereo. It is mixed internally and output thru jacks 1 & 2, so only two returns are needed. If going mono, just use output 1 and all processors are summed to mono. This is all done with jack switching internally so there is no menu-configuration needed.

Look, I could go on and on with this unit. It has some drawbacks, but it is pretty awesome too. The fact that I have three of these, and continue to use them even now 25 or so years later, should be enough of an endorsement from me.

Best thing retro design….!

Fun to use.

I had one of these way back in the day, bit of a complex beast to get around, but it offered some great effect presets, many not found in other devices. Like many things form back in the day, I should have kept it instead of selling it to buy the next flavour of the month. Build quality was good too, and the design outstanding I thought.

This was a new magical device in 1974. We could change pitch without changing the length. The introduction above says it had ‘de-glitch’, it did not. De-glitching was an optional board for the H949. The more pitch change you choose the more glitching you get. I still love it for doubling at the smallest pitch change it will do.

If the shelf life of the Eventide H9000 is anything like its predecessors, the H9000 will be around for a long time to come, with numerous updates coming from Eventide. But right out of the box, with many presets ported over from the H8000 and the H9, the H9000 is the Swiss army knife of processors. Use it on guitars, basses, synths, vocals, mix reverb, etc.

The Eventide H8000 is not a box for the faint of heart, it is a very complex beast to get your head around, particularly the setup and routing of the inputs and outputs. Once mastered of course it becomes second nature, but you do need some patience. Sound quality is absolutely pristine and quiet.

This is NOT a box you buy for it’s “character” or for the “colour” it can add to your sound, it is way too clean and precise for that, which also explains the love affair most have with the much earlier H3000 with it’s inferior sonics and coloured sound.

The question is, do you want something that offers the pristine sound quality modern digital can provide, and that can also be had from a plugin, or something much older, with more ‘mojo’ and colour, and probably less reliability? It is a tough call, but certainly for those desiring a hardware effects box that can just about do it all, and do it with superb sound quality and an almost endless list of capabilities, then look no further.

Exceptional multi effect. 4x the power of a DSP4000. it produces effects that only eventide can produce. it’s really a high end machine that I never want to have to sell. I preferred it to the eclipse and much more powerful than the legendary H3000.

Eventide effects units are built to the highest standard with the professional studio in mind. The DSP 7000 is no difference. It’s build like a tank and features analog (XLR) as well as digital (AES/EBU, SPDIF) input/output. It has word clock which lots of effect processors are missing and you can build your own effect algorithms if you connect it to a computer via mid (in/out/thru) or serial port. It’s basically the stereo version of the Eventide Orville. The sound quality is simply amazing and the preset effects range from bread and butter reverbs, delays and modulation effects to really wild experimental stuff. I especially love the reverbs. They are from another world! I might sell some of my effect processors at some point and replace them with plugins but i would never sell my Eventide! In fact i really want to get a second one. This unit really brings something to the table that is not available in a plugin to this day and I have tried them all.

This thing is fantastic. The H3000 gets all the hype but any of the Eventide Ultra-Harmonizers sound stellar.