Eventide H90

[Arpangel]

Yes, very interesting
I was sceptical, yet another load of huge reverbs and washy fazey cliched stuff, that we don’t want or need.
But, no, it actually sounds good, and dare I say it, a bit different, currently I don’t own an Eventide of any description, and this could plug the gap, but I can’t justify it, its a grand, I'll have to sell some pedals, like my Big Sky and my UAD, that would take some thinking about, but from what I’ve heard from this H90, it may be worth it, I’ve always loved Eventides, but haven’t been into their pedals, or that awful H9 computer thing, this could be the wave that gets me back in the fold after selling my H3000
Plus, it’s got 4 in's and out's!

https://www.youtube.com/watch?v=3IHS_VsH3Dg

[sonics]

I was sceptical, yet another load of huge reverbs and washy fazey cliched stuff, that we don’t want or need.

Indeed!

For gigging use, I can understand this market, but not for the recording studio (unless it's a wealthy one). These sorts of pedals are great fun and can sound wonderful, but are not cheap. I'm not tempted in the slightest when I can do all that and a thousand times more with software that costs a tenth of its price.

[Arpangel]

I was sceptical, yet another load of huge reverbs and washy fazey cliched stuff, that we don’t want or need.

Indeed!

For gigging use, I can understand this market, but not for the recording studio (unless it's a wealthy one). These sorts of pedals are great fun and can sound wonderful, but are not cheap. I'm not tempted in the slightest when I can do all that and a thousand times more with software that costs a tenth of its price.

I actually preferred her harp dry! it sounded beautiful, it didn’t need anything.

I was mixing a project yesterday, and Valhalla VintageVerb was used all the time, nothing else, my pedals were sitting there unused.
They are like a security blanket, nothing else.

[sonics]

I actually preferred her harp dry! it sounded beautiful, it didn’t need anything.

I was mixing a project yesterday, and Valhalla VintageVerb was used all the time, nothing else, my pedals were sitting there unused.
They are like a security blanket, nothing else.

Yes, the harp became, well, not a harp!

Valhalla products are affordable and well-liked most everywhere, of course.
Some of the wonderful software tools for reverb and other sound-mangling that I've discovered for just a few dollars over the last fifteen years are just wonderful. For me, the ease with which I can pull up a plug-in, allocate physical controls (if required), and route it with software far outweighs the time and effort of wiring up hardware. Then there's the hoary old problem of recall! If I had the space and the money I'd probably have a rack (or three!) of hardware, but it would have to be a big space and a lot more money!

[Arpangel]

I actually preferred her harp dry! it sounded beautiful, it didn’t need anything.

I was mixing a project yesterday, and Valhalla VintageVerb was used all the time, nothing else, my pedals were sitting there unused.
They are like a security blanket, nothing else.

Yes, the harp became, well, not a harp!

Valhalla products are affordable and well-liked most everywhere, of course.
Some of the wonderful software tools for reverb and other sound-mangling that I've discovered for just a few dollars over the last fifteen years are just wonderful. For me, the ease with which I can pull up a plug-in, allocate physical controls (if required), and route it with software far outweighs the time and effort of wiring up hardware. Then there's the hoary old problem of recall! If I had the space and the money I'd probably have a rack (or three!) of hardware, but it would have to be a big space and a lot more money!

I get the distinct feeling that my hardware is there just because it’s there
But, I still don’t like moving a knob on a controller to move a knob on a screen, it still doesn’t work for me, hate it.

[sonics]

I get the distinct feeling that my hardware is there just because it’s there
But, I still don’t like moving a knob on a controller to move a knob on a screen, it still doesn’t work for me, hate it.

Have you ever tried a large touchscreen? Something like the Slate system. The control method is really nice. Sure, they are not real knobs, but the control is right in front of you as you "turn" it. I enjoy that in a different way from allocating unmarked physical controllers. Put that behind a nice keyboard and you have a great working "desk". (I do something similar with my touchscreens.)

Perhaps the Softube or NI systems would suit you better, where the controls are marked so you don't need to look at a screen? Also the PreSonus Fat Channel controllers work like that; you use them like analog and don't look at a screen.

I do a lot of live sound and that's my biggest issue with digital mixers; being forced to look at a screen.

[Arpangel]

I get the distinct feeling that my hardware is there just because it’s there
But, I still don’t like moving a knob on a controller to move a knob on a screen, it still doesn’t work for me, hate it.

Have you ever tried a large touchscreen? Something like the Slate system. The control method is really nice. Sure, they are not real knobs, but the control is right in front of you as you "turn" it. I enjoy that in a different way from allocating unmarked physical controllers. Put that behind a nice keyboard and you have a great working "desk". (I do something similar with my touchscreens.)

Perhaps the Softube or NI systems would suit you better, where the controls are marked so you don't need to look at a screen? Also the PreSonus Fat Channel controllers work like that; you use them like analog and don't look at a screen.

I do a lot of live sound and that's my biggest issue with digital mixers; being forced to look at a screen.

A Slate wouldn’t be worth it for me, I’ve been into just using the computer, and it can work very well, I made an album Toy Town, that was entirely done in the box, with no hardware at all just the on-screen piano keyboard, and a mouse. But now, ultimately, I prefer to use hardware.

[sonics]

But now, ultimately, I prefer to use hardware.

Well, that's me out of suggestions.
I'm off to sell the last of my hardware that I've not touched in years. (Yes, really!)

[FrankF]

I watched Loopop's (overlong) review of it, and my whelm was most definitely undered: more "short-circuit" than "golden glow", to quote Dennis Leigh.

And the price! Last night, I put a battered old ZOOM drumbox (40€) through a ZOOM MS pedal (100€), and the weirdness of it all as I scrolled through those spacey presets had me jumping up, down, and sideways, Sideways, I tell you!

https://www.youtube.com/watch?v=2HFmTik3U94

[Arpangel]

I watched Loopop's (overlong) review of it, and my whelm was most definitely undered: more "short-circuit" than "golden glow", to quote Dennis Leigh.

And the price! Last night, I put a battered old ZOOM drumbox (40€) through a ZOOM MS pedal (100€), and the weirdness of it all as I scrolled through those spacey presets had me jumping up, down, and sideways, Sideways, I tell you!

https://www.youtube.com/watch?v=2HFmTik3U94

You’re absolutely right, and the heyday of these types of effects is long gone, it’s not an exciting practical or artistic area to be in, I’m mean, they’ve been overtaken by cheaper technology, and, by peoples imaginations, and ingenuity.

[FrankF]

Agreed, but I still want one!

[Aled Hughes]

I have to say I’m rather fascinated (and tempted) by this.

It’s one of those pieces of equipments that’s simultaneously overpriced and good value, depending on how you look at it. Yes, it’s a painfully expensive guitar pedal… but it’s also quite reasonable for two hardware stereo SP2016 reverbs with independent line-level I/O. Then add all the other stuff on top…
As two stereo line-level studio FX units it’s quite cheap, but as a guitar pedal it’s very expensive.

Rather like the Moog Mother 32 - it’s expensive for a single voice desktop synth, but cheap as a collection of Eurorack modules, where the same functionality could easily take you into three-figures.