Just over a month ago, we took a snapshot of Eventide at age 40. This story followed the paths of founder Richard Factor and Director Tony Agnello from the company’s infancy through to the present day, focusing on their earliest designs, as well as their latest releases.
What we didn’t have room for was a thorough look at all the intervening years, some of which were marked by significant growth, and some of which were markedly less fruitful. Instead, we heard more about those many middle years from you, our readers. The story of Eventide turned out to be a popular one, and it brought in a lot of mail. Unsurprisingly, there was one name kept turning up again and again in your letters: The Eventide H3000.
There was a stretch of time in the last quarter of the 20th century when there might have been as many H3000 UltraHarmonizers in the field as there were professional audio engineers. In its many incarnations, this unit was a runaway smash, rivaled in the world of professional multi-effects only by the Yamaha SPX-90.
While the SPX-90 had the market cornered on affordable reverbs, the H3000 arguably had Yamaha beat when it came to creating startling pitch-based effects and powerful filters. In 1987, Eventide’s new milestone box featured the first intelligent diatonic pitch shifting available, and came packaged with hypnotizing presets that made it a hit on showroom floors.
If the sound of the SPX-90 was practical, predictable, and impressive for the price, then Eventide’s newest toy was marked by its distinct personality. It had a voice of its own, in large part, because it was a personal project…