I have had an H9000 for a few months now. I can totally agree. I use mine via ADAT to one of my three UAD Apollo interfaces, and it’s been totally rock solid for me. Emote works great, and used as a VST plugin gives total recall. It’s not my first Eventide, I had a DSP4000 before this, but the H9000 is in a completely different league. On the subject of the axe fx, I also have one (the mk 2 version), which I also love. The H9000 doesn’t replace it, because the Axe Fx is really well set up as a guitar/bass front end. Feed one into the other though… Yes it was spendy. But it’s done more for me than dropping that amount of money on another synth would ever have done.
Indeed, the idea that these things ever need replacing or upgrading is silly. Barring a hardware failure this could last 20+yrs. Connectivity compatibility could eventually be an issue for the digital connections.
Too right. Not to mention; All the Eventide Ultra-Harmonizers from the DSP4000 all the way through to the H8000 are essentially the same pieces of hardware, except some models have 2 DSP engines and the newer ones have much more processing power. But besides that, the interface, the patch editor, the algorithms and programs (with the exception of a few additions exclusive to newer models), the screen, the UI, the front panel layout, all of that and more remained virtually unchanged for the better part of 25 years. The older Eventides are still beasts, there's a damn good reason you still see DSP4000's, H3000's and Orvilles in studios today. They're simply not outdated! I got a new screen and some new caps put in my DSP4000, it's ready for another 25 years of use. I doubt I will ever need or want a H9000. I wish Eventide would release a new DSP box, based off their old hardware like the Orville or DSP7000/7500 models and release it as replacement to the recently discontinued Eclipse. Something in the $2-$3k range that most people could afford. The H9000 seems to be catering to such an incredibly small market.
H9000 in a nutshell: It can turn a fart into art. Hell, it can turn 16 farts into an orchestra. But... not many people actually need to do that on a regular enough basis to justify spending a few grand on it.
@@hazelelcamino7453 Definitions are debatable, but if it helps, I normally use "a couple" for two, or "a few" for a single-digit which is more than two. So, "a few grand" would be $3000 to $9000.
@@ToyKeeper a few is generally known by society to mean 3 of something. A more universally understood term might be "several". Personal definitions are meaningful, but if they only mean something to you, then they dont do any good linguistically.
@@ryanpwm Words are generally known by society to mean a few different things each... and just in case it wasn't clear from context, that does _not_ mean every word has _precisely three_ meanings. If the value is exactly three, the word for that is ... "three". If the value is an indeterminate small number, the most common phrases are "a few" or "several". The whole point of the word is that the number _isn't_ anything specific. I mean, yeah, it bugs me a little when people say "a couple" and the number they mean isn't two. But it's still clear what their message was, so I don't interject to tell them they're using language wrong. They communicated successfully, and if I choose not to hear the message, that's my fault, not theirs. So I don't comment to correct people on little things like if they spelled a word wrong... because it adds nothing of value and only serves to bother people and obstruct communication. Or... instead of responding to the content of your message, would you rather I said I can't understand you because you didn't capitalize the beginning of a sentence? Is that the world you want to live in?
Might be reasonable as long as 1) you really need that level of parallelism on a sustained basis and 2) you can recover costs through use. I suppose that if there is some potential career defining creative breakthrough which you think might be more easily achieved by this unit than with something cheaper - then maybe. But I would still argue for the need to get charge-back income via production work. GAS (Gear Acquisition Syndrome) is indeed a thing. Not saying this would fall into that category but I've certainly made pricey hardware purchases that I later regretted because it became obsolete before I could get back the money.
I had a Kyma system. Incredible sound creation tool. But you have to be willing to dedicate a year or two of your life to really get the best out of it. I wasn’t. 😁 I also had an Eventide H8000FW. Incredible sounding unit. But I rather the actual tone of my H3500. Kept that and sold the rest. This unit is worth it only if you use its routing possibilities and like it’s actual tone. Big improvement on the H8000FW interface though.
For us paupers Valhalla DSP make the free Supermassive Reverb/Delay/Modulation vst/Au3. It’s amazing. That coupled with Little Plate from Soundtoys gives me all the ambience I need.
I'm interested in this machine because of Robert Fripp, who uses two of them (I think one of them is a spare) for his impressive soundscapes. His delays are impossibly long.
I remember the first Kyma demo I heard 20 years ago it was flooring. I believe it was a recording of someone talking morphing into the sound of falling boulders.
Honestly since the H9000 has a lot of inserts available as vst plugins i prefer the H3000. It just has this mojo that I feel a lot of the newer eventide harmonizers lack
This is really a pro recording/mixing studio product but if you have the cash it would certainly nice to have. The 9000R seems like a nice less expensive option.
Yep but the risk is that 8 years after that you don' t have anymore software update or driver to control the unit. Like with the h8000 and the visig software.
Someone tell me what I’m missing. I don’t get DSP hardware in general. It seems like your paying $7k to make your plugins a bit less convenient to use, and limited to 16 tracks. I suppose for a touring band I get it, but in a studio? Does being in an external box somehow make the coding behind the algorithms sound better?
Dedicated hardware can have much lower latency; when using lots of effects as part of the sound, I can't really get the feeling/timing right when you only add the effects after the recording. And >10 ms latency becomes noticeable (with delay/reverb it's not an issue, but with other effects it definitely is). With plugins it's hard to stay below that, especially if you're running 16 eventide algorithms simultaneously ;)
If you’re spending $7k on this, you probably already have a pretty beefy computer right? I guess it’s just not an issue for me, but I could see how the reduced latency could be a selling point.
Great vid. I reckon that kind of money is not so much of an issue for say a working commercial studio. Home studio.....ahhhhh. Having said that, there are plenty of equally expensive things out there. The Moog One is 16k in my money (AUD), that's probably $20 US. My limit was my recently purchased Arturia Polybrute. It was 4k my money.The real issue with that synth is that it's far too good for my skill level....but I work, I save a bit, so I bought it. Oh well.
I see these boxes integrated with live digital mixers since most of those concentrate on the EQ compression and the reverb/delay/modulation effects always leave something to be desired or they take up valuable slots you need for more DSP intensive effects like a better compressor for the lead vocals and so on. The digital connectivity is nice as well since you can pretty much hook it up to anything but 8 grand for a 4x4 single algorithm per core, ARM system is a bit dated in 2022/2023. But 90% of the things you can do with the H9000 can be done with an iPad Pro utilizing AUM and the Eventide plugins, (I've seen the more budget minded live engineers do this) All of the H9 plugins are available for the iPad at $9 each and AUM is a live audio routing software that costs like $5 so it can be done. So for about $1500 you can do everything 16 H9s can do maybe more depending on you iPad model and interface i/o. But the H9000 does do things that can't be replicated otherwise and the routing advantages are nice. So it just depends on if you are budget minded or price doesn't matter to you. Good video Cheers!
Excellent demonstration..! I've had an H9000 for several years and have to say that there is really nothing like it on the market, and the updates have been significant. As for the price, consider the historical prices of other cutting-edge professional DSP hardware, such as the EMT 250 digital reverb (over $20,000 in 1976 - equal to $95,958.88 in 2021), Lexicon 224 ($7,800 in 1978 with only 2 reverb algos), Publison Infernal Machine ($20k), Sony DRE-2000 reverb ($15,000 in 1981), etc... (also at 6:30, the word you're looking for is "monaural")
@@TjMoon91 in 2021 dollars the cost of the EMT 250 is nearly fourteen times that of the H9000, and of course the H9000 has more than sixteen times the functionality when measured by available channels of processing. That is progress.
@@TjMoon91 Yes, seems so. I think you got it now, in 1976 a studio had to scrape up the equivalent of $95k in today's dollars to have new cutting edge processing like the EMT 250. In that regard the H9000 seems like a bargain. However, there are more options today and the novelty of powerful DSP is less alluring.
@@TjMoon91 I mean no offence, but I don't think you have any experience using Eventide DSPs. You seem to be mistaken about what these things even are. I think you're conflating the concept of ease-of-use with functionality. Functionally speaking, even the DSP4000 from 30 years ago has infinitely greater potential for audio processing and degrees of freedom compared to even the fanciest and most expensive of VSTs (rivalled only by Reaktor or MaxMSP, which can run inside DAWs but aren't really VSTs - they're standalone apps). The Eventide boxes are essentially rackmount computers purely serving the function of DSP - you can create literally anything related to digital audio inside them from basic effects to FM synthesis to mastering suites to full-fledged samplers to physical-modelling synthesis, all from the ground-up. Functionally speaking, they're virtually limitless. Don't be fooled into thinking they're just boxes full of pretty-sounding delays and reverbs, Google 'Eventide Vsig' - that's the programmer used to create custom algorithms - unfathomably powerful stuff, again with no true competitor, unless you coded your own DSP platform from the ground up. Of course, they aren't for everyone - most musicians will never require such a beast and be just fine using free/built-in VST's - but there is no substitute for them when required, even 40 years down the line.
ON your digital connect trouble: I'm an RME user also, and I must say that while the build quality, converters and general stability is great, every interface model I've owned has had minor weird quirks. For instance I've been using Fireface UC in a live setup. On power-up the interface spits out a few random MIDI events (out on the two physical MIDI outputs) for no reason at all. Eg. pitch-bend events. Now connected synths are stuck out of tune until you touch their pitch wheel. 😆
@@NZsaltz I don't :-) For the techs it became a matter of switch-on order. The interfaces then the keyboards. This is reverse to normal good practice due loud pops on the audio outputs (also connected to the interface…)
I'll have to admit, my reptile brain made me drool a bit over this a few times. Then I slapped myself. I don't really see the need for a hardware based effect device with this complexity in this day and age in 99.9% of situations. I can see if you are with a touring act, this would be a great way to travel light and put the board on the rider. Or if you had a studio that was charging hundreds or thousands per hour and couldn't deal with any down time. Outside of those two situations, I can't see not being able to create similar results with a well equipped computer and interface, which you need anyhow under most circumstances. Is there a list of comparable software somewhere? I personally am getting a tonne of mileage out of my soundtoys bundle. Thanks Ben informative and entertaining as usual. Cheers.
Perfectly stated. And yes the computer you use to run VSTs probably is expensive as Benn notes, but it’s a hell of a lot more functional and it’s a sunk cost that pretty much every musician has. If the H9000 sounds amazing and blows away any effects hardware and/or VST combination in sound and functionality, good on you, but at the end of the day are you getting your ROI?
On one hand, I can see that if you want to have many-channels of Eventide effects to mix with on an analog console, it can _almost_ make sense. But (except for the space requirements) is something you can probably achieve equally with a stack of older reverbs and processors. Menu diving while mixing on a console though isn't what I want to do. The $2000 screen premium is pretty absurd. I do worry that their software support won't last like their older units have like an 949 or H3000. Apple changes their processor architecture every 10 years or so. Akai's software for the S5000/6000/Z4 series no longer works easily for example, and Akai doesn't care to update it. Maybe eventide will be better? Similar with Nord Micro Modular software.
I really wouldn't expect it. They never came through with the promised e-control for the h8000 and they left the Mac vsig port up to a person doing it for free in his spare time, and they weren't shy about using it in their marketing either. The eventides has a lot of different algorithms programmed by some pretty smart people, it not just something you can copy with a bunch of old reverbs and effect boxes or even plugins. With the right machines or plugs and the and a skillset like Italo de Angelis who was the algorithm engineer for the 8000 you could come close to some presets but It will definitely never sound like eventide. He is actually an expert in using the 8000 to emulate older hardware but an eventide will never sound like a lexicon or whatever even if you can almost copy the algorithm. An update to the editors for the Nord modulars would be the most awesome thing I can imagine for my studio. But clavia definitely don't care.
"something you can probably achieve equally with a stack of older reverbs and processors" I'm sorry, but no. Not even an entire wall of old reverbs and multi-FX units would come within a mile of what even the older Eventide systems (like the DSP4000, 7000, Orville) can do, let alone the H8000 or 9000. Bear this in mind; the Eventide DSP's are rather erroneously called 'Effects Processors'. That isn't really accurate, and rather undersells what they truly are. Sure, they can create world-class effects, but that is the tip of the iceberg. They are essentially computer systems with their own programming environment (Vsig) that are solely dedicated to the concept of digital audio processing. The freedom offered by them is not for everyone, but it is totally unparalleled. For example, you can build entire sythesizers, samplers, mastering suites, MIDI sequencers, etc. within them. I'm surprised you don't know this already seeing as you brought up the Nord Modular - the Nord and the Eventide DSP's are in the same ball park, only the Eventide's are many times more powerful in terms of processing power and, of course, are still being developed and supported. But I completely agree with your underlying point; $7k can buy a lot of gear, and on most people an Eventide would be wasted. That money would be much better spent elsewhere for the vast majority of musicians/producers.
Eventide's plugin bundle costs a fraction of 7 grand, and you can run as many instances of everything in it until your cpu goes supernova. You could even buy a new xeon 28 core workstation with maxed-out ram on top, and still have enough change for that jetski you've been coveting.
@@davemaverick8438 They probably use the same algorithms, so it'd be down to the quality of the kit you play it back with. Seeing as the audio will inevitably end up being digitised at some point, it's kinda moot. Some folks just like to spend money on photogenic tech, whereas others may be more concerned with making music. 7 grand for 2U of shiny in a home studio rig is a bit of an ego-wank. Less so in a pro studio, where it would be tax deductible, and a client draw novelty. Maybe you missed the bit of the video where the 400 dollar Blackhole outperformed the world's most expensive reverb.
@@secretelitemusic for third of that money you could build an effects dedicated rack pc loaded with all algos in existence and add shiny buttons on the front with fancy logo and enclosure
That price comparison at the end isn't quite realistic. Everyone already has a computer. Everyone watching this video anyway, and probably an audio interface too. If someone didn't own a computer or an interface and wanted to build a studio would you recommend they buy an H9000 instead? Of course not.
Great video thanks! Listening on my studio monitors (Carl Tatz Phantom Focus HD1000) the H9000 Blackhole sounds like the clear winner to me. It sounds fuller, deeper, and more 3D. They all sound great though! Cheers, Lij
I didn't have any issues setting up mine. I actually bought the MADI interface card so it could talk to my RME. It took me a while to figure out how to use those 32 channels - but the H9000 does it as long as you don't use too many algorithms at once. In any case it's a beast and has phenomenal sound quality. Absolutely worth it.
By the way, I agree there isn't really a comparison to the AxeFx. They aren't the same, aren't designed to be, and aren't comparable... Definitely try out the AxeFx. It's stellar for guitar. The Line 6 Helix is also a good choice.
Put a bunch of cushions on the floor, light some incense sticks and handmade candles and switch on the H9000. Now feel the peace of Gaia in your shakras... Money is nothing, you're a bird... 🌸
Not that I'm in the market for this but it would be so hard to decide whether or not to save the money on the R - I know from my Fractal FM3 and its editor that I'd use Emote 99% of the time but would that 1% chance eat at me forever...
I look at this purchase as the same way as I do modular, as a sort of end of a career last hurrah to boost the music that no longer has the same melodic and harmonic vigor. It would make sense for a big studio to have this sort of investment but if you’re just a solo artist it seems like a waste.
I wish I had invested in a Furman power conditioner as I ruined my Kurzweil K2500R Rack workstation with the highly acclaimed KDFX card,a voltage anomaly ruined the rack,your setup looks beautiful bro 👍
If we count reverbs as effects processor (as we should?), the EMT 250 had a price tag of $20,000 at launch : ) About the adat connection issues, did you try word clock and proper termination settings?
These kinds of units, like high end (computer and audio) workstations, older systems like the Synclavier etc are designed for professionals who make money using these units every single day. They're capital investments that enhance their productivity and thus commercial output, be it as a composer, engineer, producer etc. Those people will sweat the asset for a LONG time as well, because the machines are that good and won't date any time soon. They also invest a lot of time into learning how to integrate it into their workflow or pay someone to manage it. I've worked in the world of the computing equivalent to an H9000 (workstations, high performance systems, big data, mainframes etc) and after a certain point the pricing just a number and you're looking at return on investment, payback period etc. The numbers make us average punters eyes spin, but to a profitable business they're just a cost to be managed. That said, I'd love one of these things and a whole bunch of high end kit (old and new) in my home studio for the cool factor alone.
Is The Eventide H9000 Worth $7,000? Only if you make a song, and the record buying public says: "We don't like you're song, because you didn't use a Eventide H9000"
Me casually showing up at band practice with an Axe FX3 and an Eventide H9000: "Guys, give me a sec.. I just need to plug my tube screamer into the front of this thing."
Re: Reverb test, just buy the Lexicon LXP-15ii for $150 and load preset 85 WayOut There and crank up the decay and size of the reverb parameters and thank me later.
Wow - that things sounds fantastic... if we're measuring if something is worth the money by its ultimate output, then, in my opinion, it most definitely is. Just a shame it's out of my pay grade!
Wow with all that equipment from an old science fiction movie that could probably get you around some of the planets without even leaving your house why would you even need the 9000? Oh nevermind it's more compact
Very interesting even though I will never have a need for any of the high-end hardware. I'd love to see an update to the comparison between the various versions of Blackhole now that Blackhole is available as an iOS plugin and also as a stand-alone pedal.
It is intriguing, however, it seems everyone who demos this does the same synthy type effect. It really makes it sound like a one trick pony. How do the straight up reverbs, delays and modulations sound?
I have the Midiverb III and Quadraverb GT both of which I still use. I employed a Quadraverb GT patch on a track not long ago and a guy was like "dude - how did you get that sick tone?"
Old Alesis reverbs really add a great texture on guitars and synths. You can get a really thick and dirty reverb that still somehow sits in a mix. They don’t do clean, but damn if they aren’t interesting to listen to.
Yeah its just gota be live use imo. Even for a studio its like, the headache of wires and a small screen. Didnt see if theres a software editor, but... I mean spend half as much of a PC and theres no benefit other than latency and whatever unique sort of things they programmed, which fully loaded it will still be faster than the newest pcie interface. But a $5000 PC will run a full 120 track mix at 128 samples while browsing 30 chrome tabs, photoshop, and RX. But for superpop stars and other live acts to operate their entire show live with all sorts of fx and like 1ms of latency, I cant see a better tool. You can basically do a full post production fx and mastering job on your live act with it. If I was serious about a rock band I'd be like "look guys.. we all chip in on this and we will sound absolutely bananas live. Dont worry, I'll keep it safe at my house so you all know where it is."
Quick answer: that depends on two factors: 1) how much money you expect to make from the difference it made to your music relative to more affordable and convenient plugin options 2) how much surplus enjoyment you got from the hardware workflow and the difference that made to your music relative to affordable and convenient plugin options *Edited for less ambiguity*
If you think Eventide's DSP systems are even remotely comparable to single-effect, non-user customisable plugins like Altiverb, and vice-versa, then I'm afraid you're out of your element.
@@atarirobhey atarisnob, Just wondering if you could sound any less condescending and re-read the 2 conditional Statements I wrote (which have no substantive judgement as to the relative quality, only the relative utility based on user context). As for "depth" The only reverb I cannot emulate to my satisfaction in plugins is the Quantec Yardstick, and even that is getting very close. I have a System 6000, Yardstick and access to an EMT Plate. Both the 6000 and plate are redundant relative to the convenience of plugins. All the best
@@GingerDrums I don't want to come off as snobbish (especially in regards to something as banal as audio gear). I was trying to point out that there really is no comparison between them and other effect systems due to the fact that the Eventides are completely open-ended DSPs with their own programming environment (Vsig) where almost anything related to audio processing is possible. The only thing I can think of that even comes close functionally is software like Reaktor, or maybe MaxMSP (although I don't have experience in the latter). I felt your orignal comment sounded as though you didn't understand the scope of the product. The two conditional statements seemed like you were under the impression that the H9000 is just a box of pretty-sounding FX, comparable to VSTs like Altiverb. I get the comparison is being used to illustrate a point, but if someone considering buying one were to be under that impression then I don't think it's all that condescending to suggest they're out of their element. Not in relation to me of course, but to the immense case of overkill that would result from someone dropping $7k just for some nice delays and reverbs (that, as you alluded, could be matched in software in seconds and at a much greater degree of convenience). That is the proverbial tip of the iceberg for these things. They can do anything from FM synthesis to bread-and-butter FX to full-fledged sampling, virtually anything relating to DSP, all 100% programmable and customisable by the user for their respective needs. And as for your last statement; that's great. I'm glad plugins work well for you! Interesting to hear this from a guy who's used such luxurious gear, too. For me, the Eventide systems represent total DSP efficiency, I'm well versed with Vsig and programming my own algorithms from scratch and it fits perfectly into my workflow, so using them is my comfort zone. Does it make my music sound WAY better than it would using VST's? Absolutely not. But, it is subjectively more rewarding, interesting and exciting for me, at the (rather obvious) expense of convenience, which I'm more than willing to sacrifice if it makes me enjoy the creative process more. Thank you for your kind words too.
@@atarirob I edited my post to be less ambiguous. I am implying that the percentage of engineers for whom this makes sense is vanishingly small, but didn't mean to equivocate. The scenario you describe is like getting a black magic camera for point-and-shoot street photography, yes, major overkill. You fit in the second category, where the joy of the workflow possibilities and the hardware's elegant limitations is worth the money. The physiological and psychological effect of hardware limitations, and the perspective, variety, movement (!), access to stationary parameters and their resulting creative impulses, which plugins do not afford, are all great arguments. Like many others, as of about 2020, I'm super happy in the box, and clients are giving me mad compliments on the warmth and depth, thinking that it's due to my shadow hills compressor they saw here... As I'm sure you do too, I get tired of the "analogue sound quality is defacto better" arguments, but the above considerations are real AF and should not be underestimated. As for detailed reverb design from scratch, all other things equal, a MacBook is a vastly more powerful and cost-effective platform than the Eventide (minus the surplus value mentioned above) Here is a great article from the gangsters at Valhalla DSP and a list of some of the many options for great and easy-to-learn environments: valhalladsp.com/2021/09/20/getting-started-with-reverb-design-part-1-dev-environments/
Cool review, i would never never spend that much on such a device even though it sounds awesome. I would love to see some of the analog possibilities available on the market for reverb like the vermona retubeverb or DSR-3.
For the same price, you could get 47 Behringer FX2000 effects units 😄 It does sound really nice though! If ever owned one, I wouldn’t waste it hooked up to a DAW. IMO better to use it with a really nice analog console like a Toft ATB or something similar where you could make good use of those 8 analog inputs.
I kept thinking, while watching this, of Bob Clearmountain describing how he was totally immersed in playing with a dual cascading delay for a project when Nile Rodgers brought in David Bowie's Let's Dance tapes for him to mix. I'm sure we all have a pretty good idea of what gear he was using to do that but, man, that album would have come out so much different had he had one of these and I honestly don't think it would have been for the better. The H9000 is a device for the now, for artists and engineers of today to use in developing a new much needed refreshed concept of what can move us in inspiring ways, be they musical or narrative reinforcements. Good video and very well laid out and presented commentary.
Cool piece of equipment and great for pro studios. For my home rig if I was to consider spending that much on one piece of gear i would have to go for the Moog One first though.
You could build the Moog on the Eventide - they're full-fledged DSP platforms, meaning you can create MIDI-controlled synthesizers from the ground up inside them. No one seems to grasp how powerful these things are, even 30-odd years later!
You forgot to mention, the H9 will downgrade it’s sample rate depending upon the algorithm it’s running. That is why the individual pedals were still viable.
I feel like they kinda missed the boat with this thing and it came out way too late - almost 16 Years between this and the H8kfw. It sounds really great - but all those washy sounds just sound like usual eventide you could accomplish with their pedals, plugins, a used H8000FW etc. Great review though...
Not sure if you'll read this, but I've been wondering a lot since this video. Question: would a modular effects chain with 16 of the best possible modules (e.g. Strymon, NE Versio, etc) come near the Eventide and stay below $7000? Hmm... the guitar patch from the intro already answers that. Never mind :). What an amazing piece of gear (and Benn).
I got one and the two best pros for me are : 1. Superb sound quality 2. Drag and drop fx in any combination in a blink of second (time is money) . Support is extremely fast in less than 1 hour I’ve got my email responded (impressive!) . The only cons is obviously the price tag, but if you can only buy 1 fx unit in whole lifetime then I think this is the one to go for.
I don't think its the most expense effects unit ever made :) just look at what the AMS gear used to cost back in the 80-90s, I used to work with them at a studio in London and was always told that the gear was 10k plus and that was £ not $.. The AMS DMX 15-80 and the RMX 16 were silly money, quite amazing that you can get better sounding gear now for around £300 and in a little pedal ! ( as some of your other videos have shown ) great video thanks for posting, last time I used a new bit of kit by Eventide it was a DSP4000 if I remember correctly so great to see what they are doing now, Thanks again :)
I have had an H9000 for a few months now. I can totally agree. I use mine via ADAT to one of my three UAD Apollo interfaces, and it’s been totally rock solid for me. Emote works great, and used as a VST plugin gives total recall. It’s not my first Eventide, I had a DSP4000 before this, but the H9000 is in a completely different league. On the subject of the axe fx, I also have one (the mk 2 version), which I also love. The H9000 doesn’t replace it, because the Axe Fx is really well set up as a guitar/bass front end. Feed one into the other though…
Yes it was spendy. But it’s done more for me than dropping that amount of money on another synth would ever have done.
So you agree that there should be a iOS front end for the 9000R so save the bucks on a "non Required" cost of a screen?
Many artists who bought their H3500/DSP4000's in the early 90s are still using them without issues...
Indeed, the idea that these things ever need replacing or upgrading is silly. Barring a hardware failure this could last 20+yrs. Connectivity compatibility could eventually be an issue for the digital connections.
The issue is paying off your bank loan at 25% interest to pay for it. Could cause a divorce and loosing your kids' but defo worth it...lol
Too right.
Not to mention; All the Eventide Ultra-Harmonizers from the DSP4000 all the way through to the H8000 are essentially the same pieces of hardware, except some models have 2 DSP engines and the newer ones have much more processing power. But besides that, the interface, the patch editor, the algorithms and programs (with the exception of a few additions exclusive to newer models), the screen, the UI, the front panel layout, all of that and more remained virtually unchanged for the better part of 25 years.
The older Eventides are still beasts, there's a damn good reason you still see DSP4000's, H3000's and Orvilles in studios today. They're simply not outdated! I got a new screen and some new caps put in my DSP4000, it's ready for another 25 years of use. I doubt I will ever need or want a H9000.
I wish Eventide would release a new DSP box, based off their old hardware like the Orville or DSP7000/7500 models and release it as replacement to the recently discontinued Eclipse. Something in the $2-$3k range that most people could afford. The H9000 seems to be catering to such an incredibly small market.
H9000 in a nutshell: It can turn a fart into art. Hell, it can turn 16 farts into an orchestra. But... not many people actually need to do that on a regular enough basis to justify spending a few grand on it.
“A few grand” is 7k to you? Haha
@@hazelelcamino7453 Definitions are debatable, but if it helps, I normally use "a couple" for two, or "a few" for a single-digit which is more than two. So, "a few grand" would be $3000 to $9000.
@@ToyKeeper a few is generally known by society to mean 3 of something. A more universally understood term might be "several". Personal definitions are meaningful, but if they only mean something to you, then they dont do any good linguistically.
@@ryanpwm Words are generally known by society to mean a few different things each... and just in case it wasn't clear from context, that does _not_ mean every word has _precisely three_ meanings.
If the value is exactly three, the word for that is ... "three". If the value is an indeterminate small number, the most common phrases are "a few" or "several". The whole point of the word is that the number _isn't_ anything specific.
I mean, yeah, it bugs me a little when people say "a couple" and the number they mean isn't two. But it's still clear what their message was, so I don't interject to tell them they're using language wrong. They communicated successfully, and if I choose not to hear the message, that's my fault, not theirs.
So I don't comment to correct people on little things like if they spelled a word wrong... because it adds nothing of value and only serves to bother people and obstruct communication.
Or... instead of responding to the content of your message, would you rather I said I can't understand you because you didn't capitalize the beginning of a sentence? Is that the world you want to live in?
@@ryanpwm I don’t think we live in the same society because ‘a few’ definitely doesn’t mean specifically 3.
Might be reasonable as long as 1) you really need that level of parallelism on a sustained basis and 2) you can recover costs through use. I suppose that if there is some potential career defining creative breakthrough which you think might be more easily achieved by this unit than with something cheaper - then maybe. But I would still argue for the need to get charge-back income via production work. GAS (Gear Acquisition Syndrome) is indeed a thing. Not saying this would fall into that category but I've certainly made pricey hardware purchases that I later regretted because it became obsolete before I could get back the money.
This isn't an effects unit, it's an instrument. I'm pretty sure Ben understands the concept of GAS. Check out a few Squarepusher albums.
Benn Jordann "H9000 might be the most expensive fx processer ever made"
The EMT 250 (which cost 20000USD at launch in 1976) "AM I A JOKE TO YOU?"
I want the episode of Benn in a massive ball pit having the time of his life.
Interesting video as always.
Have you considered doing one on Symbolic Sound’s Kyma?
I'll second that request :)
I had a Kyma system. Incredible sound creation tool. But you have to be willing to dedicate a year or two of your life to really get the best out of it.
I wasn’t. 😁
I also had an Eventide H8000FW. Incredible sounding unit. But I rather the actual tone of my H3500. Kept that and sold the rest.
This unit is worth it only if you use its routing possibilities and like it’s actual tone.
Big improvement on the H8000FW interface though.
Yes! Those systems have always fascinated me.
For us paupers Valhalla DSP make the free Supermassive Reverb/Delay/Modulation vst/Au3. It’s amazing. That coupled with Little Plate from Soundtoys gives me all the ambience I need.
yeah supermassive is crazily good for a free plugin, I use it on most of my tunes
I'm interested in this machine because of Robert Fripp, who uses two of them (I think one of them is a spare) for his impressive soundscapes. His delays are impossibly long.
What's in Ben's ball pit, lol
How to become an amazing ambient guitarist:
Eventide OctaVox -> Eventide Blackhole -> play 1 note.
Done. You are now a ambient guitar player!
Play two notes. Now you are an Ambient guitar God. A two note Mozart to the one note Salieri hacks.
@@maquettemusic1623 I'm 14 and everything is cringe.
@@maquettemusic1623 having a channel with 0 content link to another channel in the bio is pretty cringe as well...
I wondered if you’d ever looked and Symbolic Sounds Kyma? That’s a product which feels prohibitively expensive and a weirdly mystical product.
I remember the first Kyma demo I heard 20 years ago it was flooring. I believe it was a recording of someone talking morphing into the sound of falling boulders.
Just repaired an H3000, and while I was skeptical of the cost (used $2000+), I was also amazed, so the H9000 must be out of this world....
Honestly since the H9000 has a lot of inserts available as vst plugins i prefer the H3000. It just has this mojo that I feel a lot of the newer eventide harmonizers lack
This is really a pro recording/mixing studio product but if you have the cash it would certainly nice to have. The 9000R seems like a nice less expensive option.
Especially since he's pretty much only using emote.. save your $2000 and grab the Eventide 2016 with that
Yep but the risk is that 8 years after that you don' t have anymore software update or driver to control the unit. Like with the h8000 and the visig software.
Got the H9000R about 2 months ago. OMG ... it is so creative to work with it, while it ALWAYS sounds awesome. It's hard to get not lost in it ;)
I once splurged and got myself a $7k car. #splurge #Reverb #H9000
Learn more about gear. The best is - PUBLISON INFERNAL MACHINE 90 - IM90
Someone tell me what I’m missing. I don’t get DSP hardware in general. It seems like your paying $7k to make your plugins a bit less convenient to use, and limited to 16 tracks.
I suppose for a touring band I get it, but in a studio? Does being in an external box somehow make the coding behind the algorithms sound better?
Answer; Algorithms so heavy using it on your own computer's capacity would be too heavy and limit you.
Dedicated hardware can have much lower latency; when using lots of effects as part of the sound, I can't really get the feeling/timing right when you only add the effects after the recording. And >10 ms latency becomes noticeable (with delay/reverb it's not an issue, but with other effects it definitely is). With plugins it's hard to stay below that, especially if you're running 16 eventide algorithms simultaneously ;)
If you’re spending $7k on this, you probably already have a pretty beefy computer right?
I guess it’s just not an issue for me, but I could see how the reduced latency could be a selling point.
Well the Lexicon 960L was $15,000 when it came out in 2000..
But the Eventide is up there for sure..
Great vid. I reckon that kind of money is not so much of an issue for say a working commercial studio. Home studio.....ahhhhh.
Having said that, there are plenty of equally expensive things out there. The Moog One is 16k in my money (AUD), that's probably $20 US.
My limit was my recently purchased Arturia Polybrute. It was 4k my money.The real issue with that synth is that it's far too good for my skill level....but I work, I save a bit, so I bought it. Oh well.
I see these boxes integrated with live digital mixers since most of those concentrate on the EQ compression and the reverb/delay/modulation effects always leave something to be desired or they take up valuable slots you need for more DSP intensive effects like a better compressor for the lead vocals and so on. The digital connectivity is nice as well since you can pretty much hook it up to anything but 8 grand for a 4x4 single algorithm per core, ARM system is a bit dated in 2022/2023. But 90% of the things you can do with the H9000 can be done with an iPad Pro utilizing AUM and the Eventide plugins, (I've seen the more budget minded live engineers do this) All of the H9 plugins are available for the iPad at $9 each and AUM is a live audio routing software that costs like $5 so it can be done. So for about $1500 you can do everything 16 H9s can do maybe more depending on you iPad model and interface i/o. But the H9000 does do things that can't be replicated otherwise and the routing advantages are nice. So it just depends on if you are budget minded or price doesn't matter to you. Good video Cheers!
Excellent demonstration..! I've had an H9000 for several years and have to say that there is really nothing like it on the market, and the updates have been significant. As for the price, consider the historical prices of other cutting-edge professional DSP hardware, such as the EMT 250 digital reverb (over $20,000 in 1976 - equal to $95,958.88 in 2021), Lexicon 224 ($7,800 in 1978 with only 2 reverb algos), Publison Infernal Machine ($20k), Sony DRE-2000 reverb ($15,000 in 1981), etc... (also at 6:30, the word you're looking for is "monaural")
In the 70’s DSP was brand new technology. It makes sense that it was expensive.
Now that we’re 50 years on, I’m not so sure.
@@TjMoon91 in 2021 dollars the cost of the EMT 250 is nearly fourteen times that of the H9000, and of course the H9000 has more than sixteen times the functionality when measured by available channels of processing. That is progress.
@@TjMoon91 Yes, seems so. I think you got it now, in 1976 a studio had to scrape up the equivalent of $95k in today's dollars to have new cutting edge processing like the EMT 250. In that regard the H9000 seems like a bargain. However, there are more options today and the novelty of powerful DSP is less alluring.
@@TjMoon91 I mean no offence, but I don't think you have any experience using Eventide DSPs. You seem to be mistaken about what these things even are.
I think you're conflating the concept of ease-of-use with functionality. Functionally speaking, even the DSP4000 from 30 years ago has infinitely greater potential for audio processing and degrees of freedom compared to even the fanciest and most expensive of VSTs (rivalled only by Reaktor or MaxMSP, which can run inside DAWs but aren't really VSTs - they're standalone apps).
The Eventide boxes are essentially rackmount computers purely serving the function of DSP - you can create literally anything related to digital audio inside them from basic effects to FM synthesis to mastering suites to full-fledged samplers to physical-modelling synthesis, all from the ground-up. Functionally speaking, they're virtually limitless. Don't be fooled into thinking they're just boxes full of pretty-sounding delays and reverbs, Google 'Eventide Vsig' - that's the programmer used to create custom algorithms - unfathomably powerful stuff, again with no true competitor, unless you coded your own DSP platform from the ground up.
Of course, they aren't for everyone - most musicians will never require such a beast and be just fine using free/built-in VST's - but there is no substitute for them when required, even 40 years down the line.
TC Electronics 6000 and Lexicon 960L costs way more than this. Hell, the Sony Sampling Reverb costs $11k-$12k 15 years ago.....just saying
ON your digital connect trouble: I'm an RME user also, and I must say that while the build quality, converters and general stability is great, every interface model I've owned has had minor weird quirks. For instance I've been using Fireface UC in a live setup. On power-up the interface spits out a few random MIDI events (out on the two physical MIDI outputs) for no reason at all. Eg. pitch-bend events. Now connected synths are stuck out of tune until you touch their pitch wheel. 😆
Do you have any synths with no pitch bend wheel but that respond to pitch bend MIDI? If so, that would be trouble
@@NZsaltz I don't :-) For the techs it became a matter of switch-on order. The interfaces then the keyboards. This is reverse to normal good practice due loud pops on the audio outputs (also connected to the interface…)
I'll have to admit, my reptile brain made me drool a bit over this a few times. Then I slapped myself. I don't really see the need for a hardware based effect device with this complexity in this day and age in 99.9% of situations. I can see if you are with a touring act, this would be a great way to travel light and put the board on the rider. Or if you had a studio that was charging hundreds or thousands per hour and couldn't deal with any down time. Outside of those two situations, I can't see not being able to create similar results with a well equipped computer and interface, which you need anyhow under most circumstances.
Is there a list of comparable software somewhere? I personally am getting a tonne of mileage out of my soundtoys bundle.
Thanks Ben informative and entertaining as usual.
Cheers.
Perfectly stated. And yes the computer you use to run VSTs probably is expensive as Benn notes, but it’s a hell of a lot more functional and it’s a sunk cost that pretty much every musician has. If the H9000 sounds amazing and blows away any effects hardware and/or VST combination in sound and functionality, good on you, but at the end of the day are you getting your ROI?
On one hand, I can see that if you want to have many-channels of Eventide effects to mix with on an analog console, it can _almost_ make sense. But (except for the space requirements) is something you can probably achieve equally with a stack of older reverbs and processors. Menu diving while mixing on a console though isn't what I want to do. The $2000 screen premium is pretty absurd.
I do worry that their software support won't last like their older units have like an 949 or H3000. Apple changes their processor architecture every 10 years or so. Akai's software for the S5000/6000/Z4 series no longer works easily for example, and Akai doesn't care to update it. Maybe eventide will be better? Similar with Nord Micro Modular software.
I have a stack of four Digtech Studio Quads, and as a bonus they work as heating for my studio. :)
I really wouldn't expect it. They never came through with the promised e-control for the h8000 and they left the Mac vsig port up to a person doing it for free in his spare time, and they weren't shy about using it in their marketing either. The eventides has a lot of different algorithms programmed by some pretty smart people, it not just something you can copy with a bunch of old reverbs and effect boxes or even plugins. With the right machines or plugs and the and a skillset like Italo de Angelis who was the algorithm engineer for the 8000 you could come close to some presets but It will definitely never sound like eventide. He is actually an expert in using the 8000 to emulate older hardware but an eventide will never sound like a lexicon or whatever even if you can almost copy the algorithm. An update to the editors for the Nord modulars would be the most awesome thing I can imagine for my studio. But clavia definitely don't care.
"something you can probably achieve equally with a stack of older reverbs and processors"
I'm sorry, but no. Not even an entire wall of old reverbs and multi-FX units would come within a mile of what even the older Eventide systems (like the DSP4000, 7000, Orville) can do, let alone the H8000 or 9000.
Bear this in mind; the Eventide DSP's are rather erroneously called 'Effects Processors'. That isn't really accurate, and rather undersells what they truly are. Sure, they can create world-class effects, but that is the tip of the iceberg. They are essentially computer systems with their own programming environment (Vsig) that are solely dedicated to the concept of digital audio processing. The freedom offered by them is not for everyone, but it is totally unparalleled. For example, you can build entire sythesizers, samplers, mastering suites, MIDI sequencers, etc. within them. I'm surprised you don't know this already seeing as you brought up the Nord Modular - the Nord and the Eventide DSP's are in the same ball park, only the Eventide's are many times more powerful in terms of processing power and, of course, are still being developed and supported.
But I completely agree with your underlying point; $7k can buy a lot of gear, and on most people an Eventide would be wasted. That money would be much better spent elsewhere for the vast majority of musicians/producers.
Eventide's plugin bundle costs a fraction of 7 grand, and you can run as many instances of everything in it until your cpu goes supernova. You could even buy a new xeon 28 core workstation with maxed-out ram on top, and still have enough change for that jetski you've been coveting.
Good point about that jet ski... Now I know where to put that money!
Do their vsts sound as good as hardware and have exact features?
@@davemaverick8438 They probably use the same algorithms, so it'd be down to the quality of the kit you play it back with.
Seeing as the audio will inevitably end up being digitised at some point, it's kinda moot.
Some folks just like to spend money on photogenic tech, whereas others may be more concerned with making music.
7 grand for 2U of shiny in a home studio rig is a bit of an ego-wank. Less so in a pro studio, where it would be tax deductible, and a client draw novelty.
Maybe you missed the bit of the video where the 400 dollar Blackhole outperformed the world's most expensive reverb.
@@secretelitemusic for third of that money you could build an effects dedicated rack pc loaded with all algos in existence and add shiny buttons on the front with fancy logo and enclosure
Workstations tend to fit in 19" racks. You can add led strips for ten dolla.
That price comparison at the end isn't quite realistic. Everyone already has a computer. Everyone watching this video anyway, and probably an audio interface too.
If someone didn't own a computer or an interface and wanted to build a studio would you recommend they buy an H9000 instead? Of course not.
Forget the H9000. I WANT THAT T-SHIRT!
Great video thanks! Listening on my studio monitors (Carl Tatz Phantom Focus HD1000) the H9000 Blackhole sounds like the clear winner to me. It sounds fuller, deeper, and more 3D. They all sound great though! Cheers, Lij
Sounds so nice… nothing like dedicated hardware… the screen one is more future proof… regardless what happens it still will be usable… not os locked…
I didn't have any issues setting up mine. I actually bought the MADI interface card so it could talk to my RME. It took me a while to figure out how to use those 32 channels - but the H9000 does it as long as you don't use too many algorithms at once. In any case it's a beast and has phenomenal sound quality. Absolutely worth it.
By the way, I agree there isn't really a comparison to the AxeFx. They aren't the same, aren't designed to be, and aren't comparable... Definitely try out the AxeFx. It's stellar for guitar. The Line 6 Helix is also a good choice.
One of us has to buy this thing now so my man over here can get some of that endless shrimp.
You do better to spend 7k on guitar lessons
Put a bunch of cushions on the floor, light some incense sticks and handmade candles and switch on the H9000.
Now feel the peace of Gaia in your shakras... Money is nothing, you're a bird... 🌸
what can it do that reaktor can't do? reaktor runs native on anything and costs $400
Its not so much what it can do but how it sounds. And its nothing like reaktor.
Dude! Shout out to that t shirt! My favorite movie of all time. 👍🏻
so what you're telling me is i should not spend money on food and supplies for a year and buy one of these
I don't think I would see my friends or even my children for many, many months if I owned the H9000.
Defly sounds amazing, but I think Ill wait for the H9000xxx, Fleshlight addition to come out....then I really don't need to leave the house :)
every video of yours is a banger
Not that I'm in the market for this but it would be so hard to decide whether or not to save the money on the R - I know from my Fractal FM3 and its editor that I'd use Emote 99% of the time but would that 1% chance eat at me forever...
I look at this purchase as the same way as I do modular, as a sort of end of a career last hurrah to boost the music that no longer has the same melodic and harmonic vigor.
It would make sense for a big studio to have this sort of investment but if you’re just a solo artist it seems like a waste.
I wish I had invested in a Furman power conditioner as I ruined my Kurzweil K2500R Rack workstation with the highly acclaimed KDFX card,a voltage anomaly ruined the rack,your setup looks beautiful bro 👍
A line interactive ups would give you great protection as well.
I was seriously going to get an H9000 until you mentioned Red Lobster. I can't contribute to such foolishness.
Isn’t there an H9000 plugin? How does that stack up against the hardware version? I’m sure the hardware version is better but HOW MUCH better?
If we count reverbs as effects processor (as we should?), the EMT 250 had a price tag of $20,000 at launch : )
About the adat connection issues, did you try word clock and proper termination settings?
thumder storn
These kinds of units, like high end (computer and audio) workstations, older systems like the Synclavier etc are designed for professionals who make money using these units every single day. They're capital investments that enhance their productivity and thus commercial output, be it as a composer, engineer, producer etc. Those people will sweat the asset for a LONG time as well, because the machines are that good and won't date any time soon. They also invest a lot of time into learning how to integrate it into their workflow or pay someone to manage it.
I've worked in the world of the computing equivalent to an H9000 (workstations, high performance systems, big data, mainframes etc) and after a certain point the pricing just a number and you're looking at return on investment, payback period etc. The numbers make us average punters eyes spin, but to a profitable business they're just a cost to be managed.
That said, I'd love one of these things and a whole bunch of high end kit (old and new) in my home studio for the cool factor alone.
I still want an H9000. It would simplify my complicated effects setup.
Is The Eventide H9000 Worth $7,000?
Only if you make a song, and the record buying public says: "We don't like you're song, because you didn't use a Eventide H9000"
Me casually showing up at band practice with an Axe FX3 and an Eventide H9000: "Guys, give me a sec.. I just need to plug my tube screamer into the front of this thing."
Re: Reverb test, just buy the Lexicon LXP-15ii for $150 and load preset 85 WayOut There and crank up the decay and size of the reverb parameters and thank me later.
Wow - that things sounds fantastic... if we're measuring if something is worth the money by its ultimate output, then, in my opinion, it most definitely is. Just a shame it's out of my pay grade!
Wow with all that equipment from an old science fiction movie that could probably get you around some of the planets without even leaving your house why would you even need the 9000? Oh nevermind it's more compact
Nice Bladerunner shirt.
Very interesting even though I will never have a need for any of the high-end hardware. I'd love to see an update to the comparison between the various versions of Blackhole now that Blackhole is available as an iOS plugin and also as a stand-alone pedal.
'I'm not even speaking English at this point' golly, is that where hyper-gear takes you? Cool!
I'm glad I got the Blackhole VST for 25 bucks last year...
Too me, its not worth the 200 they are asking for it
i prefer my 2hp verb, especially soundwise :p
It is intriguing, however, it seems everyone who demos this does the same synthy type effect. It really makes it sound like a one trick pony. How do the straight up reverbs, delays and modulations sound?
$2000 for the front panel is frankly ridiculous…
yes, but it will end up as a brick long before the ones with the front.
By just listening to your music it’s worth every penny and if you have the mula then go right ahead
Wait you got another kidS friendly channel??? FirSt i ever heard of it.
I think I’ll just stick with my Midiverb II and Quadraverb lol.
I have the Midiverb III and Quadraverb GT both of which I still use. I employed a Quadraverb GT patch on a track not long ago and a guy was like "dude - how did you get that sick tone?"
Old Alesis reverbs really add a great texture on guitars and synths. You can get a really thick and dirty reverb that still somehow sits in a mix. They don’t do clean, but damn if they aren’t interesting to listen to.
@@huntergalloway3944 indeed!
I use 20-25 year old effects. Guess I’m really in need of an upgrade. The idea this thing would be “old” in 10 years is hilarious. Yea no.
me too, but in this case, if you don't get the one with the blank panel I think theres a really good chance it will be very old in ten years.
Yeah its just gota be live use imo. Even for a studio its like, the headache of wires and a small screen. Didnt see if theres a software editor, but... I mean spend half as much of a PC and theres no benefit other than latency and whatever unique sort of things they programmed, which fully loaded it will still be faster than the newest pcie interface. But a $5000 PC will run a full 120 track mix at 128 samples while browsing 30 chrome tabs, photoshop, and RX.
But for superpop stars and other live acts to operate their entire show live with all sorts of fx and like 1ms of latency, I cant see a better tool. You can basically do a full post production fx and mastering job on your live act with it. If I was serious about a rock band I'd be like "look guys.. we all chip in on this and we will sound absolutely bananas live. Dont worry, I'll keep it safe at my house so you all know where it is."
A 5000$ dollar pc won't sound like an eventide no matter how many tabs you can have open.
Quick answer: that depends on two factors:
1) how much money you expect to make from the difference it made to your music relative to more affordable and convenient plugin options
2) how much surplus enjoyment you got from the hardware workflow and the difference that made to your music relative to affordable and convenient plugin options *Edited for less ambiguity*
If you think Eventide's DSP systems are even remotely comparable to single-effect, non-user customisable plugins like Altiverb, and vice-versa, then I'm afraid you're out of your element.
@@atarirobhey atarisnob, Just wondering if you could sound any less condescending and re-read the 2 conditional Statements I wrote (which have no substantive judgement as to the relative quality, only the relative utility based on user context). As for "depth" The only reverb I cannot emulate to my satisfaction in plugins is the Quantec Yardstick, and even that is getting very close. I have a System 6000, Yardstick and access to an EMT Plate. Both the 6000 and plate are redundant relative to the convenience of plugins. All the best
@atarirob BTW I checked out your stuff on YT, great production and bass playing xxx
@@GingerDrums I don't want to come off as snobbish (especially in regards to something as banal as audio gear). I was trying to point out that there really is no comparison between them and other effect systems due to the fact that the Eventides are completely open-ended DSPs with their own programming environment (Vsig) where almost anything related to audio processing is possible. The only thing I can think of that even comes close functionally is software like Reaktor, or maybe MaxMSP (although I don't have experience in the latter).
I felt your orignal comment sounded as though you didn't understand the scope of the product. The two conditional statements seemed like you were under the impression that the H9000 is just a box of pretty-sounding FX, comparable to VSTs like Altiverb. I get the comparison is being used to illustrate a point, but if someone considering buying one were to be under that impression then I don't think it's all that condescending to suggest they're out of their element. Not in relation to me of course, but to the immense case of overkill that would result from someone dropping $7k just for some nice delays and reverbs (that, as you alluded, could be matched in software in seconds and at a much greater degree of convenience). That is the proverbial tip of the iceberg for these things. They can do anything from FM synthesis to bread-and-butter FX to full-fledged sampling, virtually anything relating to DSP, all 100% programmable and customisable by the user for their respective needs.
And as for your last statement; that's great. I'm glad plugins work well for you! Interesting to hear this from a guy who's used such luxurious gear, too. For me, the Eventide systems represent total DSP efficiency, I'm well versed with Vsig and programming my own algorithms from scratch and it fits perfectly into my workflow, so using them is my comfort zone. Does it make my music sound WAY better than it would using VST's? Absolutely not. But, it is subjectively more rewarding, interesting and exciting for me, at the (rather obvious) expense of convenience, which I'm more than willing to sacrifice if it makes me enjoy the creative process more. Thank you for your kind words too.
@@atarirob I edited my post to be less ambiguous. I am implying that the percentage of engineers for whom this makes sense is vanishingly small, but didn't mean to equivocate. The scenario you describe is like getting a black magic camera for point-and-shoot street photography, yes, major overkill. You fit in the second category, where the joy of the workflow possibilities and the hardware's elegant limitations is worth the money. The physiological and psychological effect of hardware limitations, and the perspective, variety, movement (!), access to stationary parameters and their resulting creative impulses, which plugins do not afford, are all great arguments. Like many others, as of about 2020, I'm super happy in the box, and clients are giving me mad compliments on the warmth and depth, thinking that it's due to my shadow hills compressor they saw here... As I'm sure you do too, I get tired of the "analogue sound quality is defacto better" arguments, but the above considerations are real AF and should not be underestimated.
As for detailed reverb design from scratch, all other things equal, a MacBook is a vastly more powerful and cost-effective platform than the Eventide (minus the surplus value mentioned above)
Here is a great article from the gangsters at Valhalla DSP and a list of some of the many options for great and easy-to-learn environments:
valhalladsp.com/2021/09/20/getting-started-with-reverb-design-part-1-dev-environments/
I just need help understanding what these words mean in guitar world-harmonizer,algorithm,synth
Oh I'm glad to hear that everybody there's a $5,000 Eventide I'll just sell my other beater and keep the Other beater the better beater yeah thanks
I want the link to the wrong channel! Please!
Cool review, i would never never spend that much on such a device even though it sounds awesome. I would love to see some of the analog possibilities available on the market for reverb like the vermona retubeverb or DSR-3.
I think they missed out on an opportunity. Not charging $9000 for the h9000
For the same price, you could get 47 Behringer FX2000 effects units 😄 It does sound really nice though! If ever owned one, I wouldn’t waste it hooked up to a DAW. IMO better to use it with a really nice analog console like a Toft ATB or something similar where you could make good use of those 8 analog inputs.
I kept thinking, while watching this, of Bob Clearmountain describing how he was totally immersed in playing with a dual cascading delay for a project when Nile Rodgers brought in David Bowie's Let's Dance tapes for him to mix. I'm sure we all have a pretty good idea of what gear he was using to do that but, man, that album would have come out so much different had he had one of these and I honestly don't think it would have been for the better. The H9000 is a device for the now, for artists and engineers of today to use in developing a new much needed refreshed concept of what can move us in inspiring ways, be they musical or narrative reinforcements. Good video and very well laid out and presented commentary.
Just get the H9 plugin bundle and be done with it.
am i the only one that thinks this is actually an incredible price point
Cool piece of equipment and great for pro studios. For my home rig if I was to consider spending that much on one piece of gear i would have to go for the Moog One first though.
But the Moog is so boring and the eventide is so exiting.
You could build the Moog on the Eventide - they're full-fledged DSP platforms, meaning you can create MIDI-controlled synthesizers from the ground up inside them.
No one seems to grasp how powerful these things are, even 30-odd years later!
Aliens meme guy: "piracy."
Hall Jessica Hernandez Mark Martin Kevin
Hell yeah I've been waiting for this for a while now, haven't watched it yet but I know you are gonna do some insane bullshit
you're a smart guy Benn
music gear w/ display value curve: on release: $7.000,00. after 10 years: $70,00. after 20 years: $700,00.
Priceless! 😂 But oh so true. I suspect with a new machine one mostly pays for the research. The thing becomes 'vintage' (roflol) pretty fast.
No, unless you are Brian Eno and your net worth is $20,000,00.00
You forgot to mention, the H9 will downgrade it’s sample rate depending upon the algorithm it’s running. That is why the individual pedals were still viable.
Wow, where is that nugget of info from?
Love your t-shirt.
Hal 9000?
I'm sorry Dave, I'm afraid I can't do that.
Hal just needed new firmware!
Love that sound it’s almost out of this world
h9000 is the future. Easily my favorite musical purchase.
I feel like they kinda missed the boat with this thing and it came out way too late - almost 16 Years between this and the H8kfw. It sounds really great - but all those washy sounds just sound like usual eventide you could accomplish with their pedals, plugins, a used H8000FW etc. Great review though...
I wonder when the Bricasti M7 one will come.
7:54 is that inception, dammmmn that was sick dude! hell yeah
I think I'll sell my junker and buy one of these
Wow!! The tape drone guitar starting at 6:50 is amazing!!
Not sure if you'll read this, but I've been wondering a lot since this video. Question: would a modular effects chain with 16 of the best possible modules (e.g. Strymon, NE Versio, etc) come near the Eventide and stay below $7000? Hmm... the guitar patch from the intro already answers that. Never mind :). What an amazing piece of gear (and Benn).
The h3000 software is rocking
It’s just like space odyssey
I got one and the two best pros for me are : 1. Superb sound quality 2. Drag and drop fx in any combination in a blink of second (time is money) . Support is extremely fast in less than 1 hour I’ve got my email responded (impressive!) . The only cons is obviously the price tag, but if you can only buy 1 fx unit in whole lifetime then I think this is the one to go for.
The holy grail of effects
I don't think its the most expense effects unit ever made :) just look at what the AMS gear used to cost back in the 80-90s, I used to work with them at a studio in London and was always told that the gear was 10k plus and that was £ not $.. The AMS DMX 15-80 and the RMX 16 were silly money, quite amazing that you can get better sounding gear now for around £300 and in a little pedal ! ( as some of your other videos have shown ) great video thanks for posting, last time I used a new bit of kit by Eventide it was a DSP4000 if I remember correctly so great to see what they are doing now, Thanks again :)