- #Eventide h910 harmonizer schematic how to
- #Eventide h910 harmonizer schematic generator
- #Eventide h910 harmonizer schematic manual
- #Eventide h910 harmonizer schematic software
- #Eventide h910 harmonizer schematic code
It was a great product in its day and represented the apex of digital audio technology at the time. Other function buttons could be used to select flanging, delay, or pitch change. In the days before ubiquitous presets, the H969 featured hard-wired buttons for delay and pitch presets. Tricky to use and implement, but with excellent performance for this ancient technology, it allowed us to get rid of the DBX modules that we’d been using to create virtual 16-bit performance from our home-brewed 11 bit ADCs. Talk about low-level programming!ġ6-bit linear A/D conversion used a new chip from Sony, the CX-20018.
#Eventide h910 harmonizer schematic code
We didn’t use “lines of code,” but rather tables of code and garbage cans for errors.
#Eventide h910 harmonizer schematic software
Every minor software change during development meant programming new PROMs and throwing out the old ones. There was no compiler or assembler: the ‘code’ was bit patterns burned into read-only memory (PROMs) and each group of bits controlled some aspect of the engine. The 2901 firmware can only be compared to the internal instruction decoder of a modern-day CPU. I designed the audio A/D and D/A components, integrated the system with additional logic boards, and wrote the microcontroller code and some of the 2901 firmware. Tony designed the de-glitch circuit and the bit-slice processor. It was used to set the pitch-change ratio with even more precise control than the single-sideband arrangement in the H949.
#Eventide h910 harmonizer schematic generator
Richard designed a clock generator using a new technique revealed in the Hewlett-Packard Journal called phase-addition synthesis. A comprehensive and creative toolkit for music producers, mixers, and artists alike, Anthology XII features Eventide’s revolutionary Structural Effects plug-ins, SplitEQ and Physio n, which utilize transient/tonal splitting technology the radical sound manipulation of Blackhole® and Undulator authentic emulations of Eventide studio mainstays such as the iconic H910, H949 and H3000. This was in the day when a 10- or 20 MHz processor was a big deal, and there were as yet no DSP chips that could do the work. A custom 2901 bit-slice processor engine, similar to that in the H949, was used for audio processing.
A microcontroller was used to interpret the front panel switches and drive the multicolor display. The most important parts of the design were de-glitching using autocorrelation to determine the best splice points and the use of two DACs to improve performance at low frequencies.
#Eventide h910 harmonizer schematic how to
The H969 was a complex design, and it came together based, in large part, on Tony and Richard’s ideas about how to make a better Harmonizer coupled with new processor technology that we could use to our advantage. The H969 also improved the accuracy and range (a whole octave wider) of the pitch change, allowing users to set precise, musical intervals of pitch shifting with the push of a button: The ability to manipulate time, pitch and feedback with just a few knobs and switches made it easy to alter audio in ways that otherwise required at least a couple of tape machines and, often, rearranging furniture.
#Eventide h910 harmonizer schematic manual
A complex device with a simple-to-use interface, the manual even came complete with an innovative Experiments section there were 5 “experiments” users could perform to help them navigate the H969’s new features, including extended flange, repeat, reverse, and a brand new Doppler effect. Model H910 Harmonizer 3 Introduction The H910 Harmonizer was pro audio’s first digital audio effects unit. The H969 ProPitch Harmonizer, released in 1984-five years after the H949 and nearly a decade after the H910-offered the “cleanest, highest quality pitch change ever,” as stated by the user manual. When it came time to design the next-generation Harmonizer, we turned to engineer Jeff Sasmor to develop it. This chip made it possible to improve the performance of the system and, even more critically, made it predictable.With the success of the H949 Harmonizer’s de-glitched pitch change in 1979, our focus largely shifted towards all of the other possibilities for digital audio with a particular emphasis on reverberation, leading to the development of the world’s first general-purpose digital audio processor, the SP2016. Also, an interesting substitute for the level detector-a chip with four logarithmic amplifier sections that could be cascaded for a 120dB detection range-became available.
By the time the Black-Meter Omnipressor was introduced a couple of years later, the DBX VCA had shrunk in size and price. These could be purchased separately, and for the first Omnipressor, they were used with control circuitry to achieve the gate to infinite-compression gamut. At the hearts of each DBX channel were the RMS level detector and Voltage Controlled Amplifier, each a sealed black module.
Although Dolby noise reduction reigned supreme at the time, DBX introduced a line of products that performed complementary compression and expansion, thus cutting in half the dynamic range required for the recording medium, inevitably magnetic tape. The side chain was made feasible by products from another new company, Dave Blackmer’s DBX.
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