Taming that was a good thing.”Īrtists loved the Harmonizer’s versatility. “The Harmonizer could be used for good or evil,” warns Agnello, “and the speeded-up sound of Lucy’s occasional shrill shrieks was definitely evil. The first customer-New York City’s Channel 5-immediately put an H910 to work, downward pitch shifting “I Love Lucy” reruns that were sped up to squeeze in more commercials.
Users soon found all sorts of applications, ranging from regenerative arpeggios to bizarre sound design effects to lush guitar or vocal fattening. Offering pitch shifting (☑ octave), delay (up to 112.5 ms), feedback regeneration and more from an easy-to-use $1,600 box, the H910 was a hit-an instant studio fave and still a legacy tool years later. “With memory for audio was just becoming possible, the H910 was the right box at the right time,” says Agnello. Unveiled in 1975, Eventide’s H910 Harmonizer pitch shifter spawned a legacy of products that continues to this day. Soon after (and with the keys controller offered as an option), the Harmonizer H910 was born. The version they demoed at the AES show later that year didn’t resemble the final product at all, with a music keyboard controller supported by a hand-wired box, but the reaction was universally positive, both among showgoers and Yes vocalist Jon Anderson, who tested the first prototype. However, when Eventide founder Richard Factor assigned his young designer Anthony Agnello (the company’s first “degreed” engineer) to begin building a harmony processor in 1974, they had no idea that they’d be creating an audio classic of their own.
When you name a product after a Beatles tune (the model number refers to the “One After 909”), it better be good.
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