Eventide H-910

Pretty easy to Use just experiment and you'll figure it out. Don't have the manual would like to have one.

I use this in between m Bogner Fish and a Mesa Simul 2:90 power amp. I play a 1978 Les Paul standard with a duncan 59 in the bridge. I use it for a chorus and delay/reverb. I would only recommend it for live use with a hot output preamp like the Fish whcih is like a 4db output. Sounds very natural doesn't ruin my tone, I use this for leads on the Brown channel and it is heavenly. I only run the one side of it since there is no wet/dry mix level on the unit. It goies into a vintage ampeg V-4 412 with V30's.

I would gig without a backup.

I don;t think they fix these anymore. I've spoken to them about fixing my old H3000 and my impression was they just wanted my money, same as what the poster below me said.

I would get another if needed. I like the H3000 too but this sounds more natural. This works better for me I'm more of a set it and forget it type player. I wish it had normal 1/4" inputs but oh well.

10! just don't overload it!
I never had a manual for this unit, but it is so simple, how can can one screw it up?
This is an older model from what I can tell.
I wish there was more tech support from the company as I see a lot of these things looking like they belong in a jawa cruiser.

The sound quality is a bit hazy.
I find it to add an element to a track that thickens with a razor, or glass like sheen.
It adds an instant 70's glam tone.
It actually gives me chills.
unique and screwed up!
not for pussies....this is vivid audio......

It is reliable when you know what to use it on....
A rock vocal,,,or guitar tweaker...or for a drum slap.....
not a reliable piece for long lush delays.

non-supporive of this product to date.

I usually record rock or punk style music in Austin Tx.
I find this piece is so out of the norms of local studios it gives my sound an edge.
It is a great piece...not as flexible as a lexicon pcm 41, but I still want to own another one as soon as I can!
When I apply it to a strong male vocal....it has a Visconti vibe to it.....to me...this was a landmark piece.

Eventide did not start out as a landmark in the world of signal processing. They originally made guidance systems for airplanes (which is still the bulk of their business trade). In the early 1970s, they started to make high quality digital delays and compressors for studio use. In 1975, they relased this unit and also acquired a trademark for the term "Harmonizer" in the effects world.

This unit CANNOT be used without a mixer as the outputs are both wet; THERE IS NO DRY SIGNAL. It also MUST be run at line level or it will be quite noisy. In short, this is not something you'd drag around and gig with. It is a studio piece.

Having said that, the controls themselves are actually quite simple (Eventide?--Simple? Well, this WAS the 70s...).

The "input level" control does exactly what it says. The "Feedback" knob adds regeneration to the sound. When using delay only, it can add a slap or reverb-like quality to the DDL. When used with the Harmonizer, special effects can be created (Check out David Bowie's--"THE LODGER" to hear examples of this).

"Manual" operates in Harmonizer mode only. This controls the pitch ratio. You only get an octave up or down with this processor. Finally, there's the "Anti-Feedback" knob. Also, this is only operational in Harmonizer mode, and you must press the A-F button in the Pitch control select group to activate it. This was intended to cut down on room reasonance by adding a small up and down pitch shift to the signal.

Now for the buttons: the "Delay Only" switch allows you to turn off the Harmonizer and use the unit as a stereo delay. You have four buttons in two seperate groups for "Output One" and "Output Two. You can have 7.5 to 60 milliseconds on "Output One, and 7.5 to 30 milliseconds on "Output Two". Of course, you can use the delays and the Harmonizer simultaneously.

Last, you have the "Pitch Control Select" buttons that choose between use of the "Manual" control, the "Anti Feedback" control, "Keyboard" which lets you control the device with an external keyboard, and the "CV" will allow you to manually control the pitch with footpedal or other device.

With everything laid out in such a fashion this is a very simple unit to use. It is by far the easiest Eventide to use!

Sound quality is excellent for what it does. This was never meant to be a unit that provides "harmonies" to your signal. If that's what you want you would be much better off with the 949, 969, or 3000 series.

This "one trick pony" simply provides a fat detune with delays on both sides. I usually set the pitchshift to .99,1.00, or 1.01 cents. I then add about 15 milliseconds to output one and 30 milliseconds to output two. This gets a fat wide sound that brings whatever you are processing up front in the mix.

Many famous guitar solos have been processed through this unit. TOO MANY in fact to name. Pro studios still use this unit for that reason alone. This is THE SOUND you've been trying to get with your chorus boxes, multi-effects, etc. The tone is simply HUGE! Because it is only an 8 bit unit, it is much warmer than the 949.

I personally have not liked the newer Eventide sound. The higher frequencies do not sound as warm to me. I think Eventide knew this themselves. For years they would not move on past 16 bit with the 3000 units when everybody else was at 20 bit or higher. I think they were forced to make the change for the processing power of the 4000 series to have somthing new to compete with other companies. Why would they try to improve perfection? To make more money...

On the down side, this unit really needs to be in a studio to get the best out of it. It is an older unit and if not driven correctly can be noisy. As I said before it cannot be used for "octave down, thirds, or similar types of pitchshifting. You can create some otherworldly noises with this unit, but that is (was) not it's primary purpose.

This unit has been dependable. It does have to be recalibrated from time to time but, if you have the manual it has step by step instuctions on how to recalibrate. All you need is a Scope and some electronics background. Since I have neither I reccomend Earhart Electronics (ask for Mike Earhart).

I would never use this on a gig. I would never take any Eventide out to get bashed around when there are so many cheaper alteratives. Save your good stuff for the studio! However if you are a multimillionare, I guess that's a judgment call.

OK Here's my story; When Eventide still repaired these units I called them and told them my problems with the unit. I talked to this guy and he says: "Oh it just needs to be recalibrated." He also told me they needed a $200 deposit before they started to work on it. Then he said: "Make sure you pack it well because we got a 910 in the other day with all the buttons sheared off."

Well, needless to say I packed that thing like it was grandmas' priceless old china pattern and sent it off. I called to confirm that the unit arrived and talked to the same guy who said: "It's in great shape, it just needs to be recalibrated. We should have it done and back to you in 2 weeks tops." I also asked for a manual to be included with the 910 when they sent it back.

Two months later, I am still waiting. They tell me it's shipped. I call back again and they just "happen" to find it still there. They tell me it will ship that day. They also tell me that the repair, plus the cost of a manual has eaten up all of the deposit. EXACTLY 200 DOLLARS. By this time I'm more than a little upset.

When I get the unit in it is only packed with two foam peices on the ends holding the rack ears. NOTHING IN FRONT OF OR PROTECTING THE CONTROLS!! The 910 didn't suffer any mishaps but it could have easily.

The kicker on this is when i open the manual there are the instructions for recalibrating the unit. I could have just gotten a manual and given it to Mike Earhart and it would have never left town. Did they tell me that when I called? NOOOOOOO. They wanted my money. To top things off recalibration is about a 10 minute fix and should not cost more than $40.

I also have 2 Instant Flangers which they refused to fix and said they didn't have manuals for and everything else under the sun. Mike was able to browbeat a manual out of them for it (Instant Flanger) and he fixed both of mine without their help. So if you have an older Eventide try Mike.

Thanks a lot Eventide. I'd like to give you less than a one rating but that's not possible here. Too bad.

I have been a Musician for 20 years. I would find another of these if lost or stolen. However, I will not buy anything new from Eventide for the obvious reasons stated above. The 910 is great for vocals,guitars,horns, anything you want to pop out in a mix. When you read those old Guitar player magazines and the artist says they "added a little bit of Harmonizer" and you don't hear harmonies-THIS IS WHAT THEY USED.

The pitch shift and dual delays give the right amount of "spread" without sounding cheesy and fake. It's very smooth and natural. Eventide has recently made software plug ins of this model (and the Instant Flanger). Why do that if the 8000, Orville or whatever else overpriced stuff they're making now is the be-all/end-all?


Some people I know have said this was the main studio effect on Eddie Van Halen's guitar up until the 5150 album when he saw Sammy's rig and bought a 949 for his rack (he never used an Eventide live until then). I cannot vouch for this story, who knows? Other people have said that the Sholz Rockman half rack Chorus/Delay was an attempt by Sholz to make a 910 in a smaller and more guitar friendly package. I've seen pix of Sholz's studio and a 910 does reside there as well as Peter Frampton's, and so on. You get the idea. So many pros (who could afford whatever they wanted) still use this thing. That is a winning recommendation to me.