Why is the Eventide H-3000 such a big deal?

pfrischmann

Member
Messages
3,459
Hi guys,
I was going to ask this in the other thread but didn't want to derail it.

I'm not trying to be a stick in the mud, but what makes these things so awesome? Whenever I hear demos of an H3000 or when I saw them at NAMM shows back in the day, it's always someone showing a crazy patch where delay turns into really high artificial harmonics ala the Edge or some crazy Steve Vai Passion and Warfare thing. It's admittedly cool but dated and limited in my opinion.

So what makes these things so coveted and still have such a cult following?

I'm truly trying to understand as you seem to pay a premium for a 16 bit 44.1k multi effects if it says eventide on it.

What am I missing?
 

Dave L

Member
Messages
1,510
Well, apart from the crazy patches which were unique at the time it sounds awfully nice for just about all the everyday FX too. It really does sound good and huge in a way most units don´t, in a very non-transparent way. Lumping it in with other old units based on the conversion specs does it a disservice, for sure, even if the conversion is a big part of the tone of the machine itself and a reason why people still love it.
 

jb4674

Member
Messages
6,874
You have to look and appreciate that box for what it is. The H3000 was the pinnacle of any effect unit used in the 80's and beyond. Its footprint was in pretty much every recording made in the 80's and it has that something that no other effects unit can do/sound like. I'm sure Italo will chime in with a dissertation on how the H3000 is a great tool but, this is just my simple summary.
 

pfrischmann

Member
Messages
3,459
I appreciate the feedback. When I hear it was used on every recording, I think of the Roland D-50 synth. It had two or three sounds that were way over used in the early 90's. So much so, that if you ever hear that sound, you think....retro.
 

Sardocasm

cupcakes
Silver Supporting Member
Messages
918
I would say because it simply sounds fantastic, even to this day. I thought its base effects were far better than those found on the Eclipse; it sounded lush and less clinical.
 

Dave L

Member
Messages
1,510
I agree, to my ears the Eclipse presets couldn´t match the sound of the H3000 or the 4000 series on comparable programs.
 
Messages
14,366
The Eventides(3000/4000/7000/7500/Orville/Eclipse/8000/etc) can be as weird or normal as you like.

They really do sound fantastic and are useful for many things, some of which are actually quite subtle. They afford the user a unbelievable level of control over what is going on with the sound(less so on the Eclipse, of course).

I currently have an Eclipse and just about anything I think of to do with it beats the effects in my DAW. Not only does it generally do whatever effect I think I need, it also works almost as it's own instrument. I can patch it in, start digging through the algorithms and come up with ideas I wouldn't otherwise have had.
 
Messages
14,366
I'm truly trying to understand as you seem to pay a premium for a 16 bit 44.1k multi effects if it says eventide on it.

Don't forget that there have been a bunch of successors to the 3000 with higher bit and sampling rates.
 
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sahhas

Silver Supporting Member
Messages
20,342
In early 90s, Steve Vai and Vernon Reid used it in unique ways that probably made it desirable to many guitarists, me included!
 
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sahhas

Silver Supporting Member
Messages
20,342
i know it is a studio tool used a lot for it's reverbs and its "special effects", my question: were there other guitarists using it in the early 90s that
made it popular, ohh, duh, i just forgot, didn't EVH use it for the detune sound? so him (evh), Vernon Reid and Vai? where there any others or were they the
big 3 of the day?? just curious...
 

Dave L

Member
Messages
1,510
A lot of guys used it prominently in the late 80s and early 90s, from the session guys like Lukather, Huff, Thompson and Landau to rock and hard rock guys like Kirk Hammett, Viv Campbell, the Queensryche boys, Mick Mars, Richie Sambora, The Edge and so on and so forth. And for every player touring with the units there probably are many more that used it for recording; since every studio in the world has a H3000 it´s probably sprinkled over tons and tons of stuff.
 
Messages
4,786
My computer runs audio at 24bit/192KHz. Does it sound better than the H3000 16/44.1? :D
Why a PCM70 (16bit/32KHz) is very much desired? Or a TC2290 and TC1210 (analog)? Or a Lexicon 200, 224, Pcm42, Prime Time?
Or an Ursa Mayor Space Station SST-882? Or an AMS RMX15 or DMX15...as countless other units running at lower than CD player specs?
Why people pay thousands of $/€/£ for CD players that sound good?
Very simple answer to that!
Add the fact the H3000 had and still has a set of processes not available anywhere else that people use both in music and video/broadcast productions.
Yeah... Vai presets... they helped selling a few H3000s in the guitar crowd.... but the unit sold by itself anyway... like sandwiches.
Maybe you should simply get one and realize what kind of shock is listening to it with your gear and really use it.
 

pfrischmann

Member
Messages
3,459
Thanks to everyone for the feedback.

Hi Italo,
I figured you'd pop in. I can't decide if you are being helpful or condescending?
I'll assume the former. I've owned or used 90% of the boxes you mentioned above. Some, in my opinion are way over hyped and command a high price because Landau,lukather etc used them back in the day (BTW none of them use that stuff now and Landau, Luke and Huff can make anything sound great) I prefer SDE-3000's over the 2290 and an echoplex over all of them but find it impractical to gig with. Way too high maintenance. I am a guitar player and don't care about studio use, just tone.

So for me,
Before I go spend $1,000+ (according to ebay prices) on a device that could be almost 30 years old and likely will not by my all encompassing multi effects box, and I will not be able to hear before I buy, I'd like to understand why people see such value in it as a guitar processor. As I mentioned-when I hear demo's, it's usually of a guy doing some "black hole" patch where the notes extend into crazy harmonics. No doubt that is an incredible feat in processing as I hear little or no stray artifacts when the delayed/harmonized sound gets into those upper partials. It's really cool...for about 30 seconds, then I move on to something more practical, like how are the delays? Does it give my sound depth? Some boxes just make your tone better by simply being plugged in, like the Echoplex, real tube reverb, Neve 1073If that's the H-3000, then awesome, I get it.

So what are the "processes" you speak of?
 

pfrischmann

Member
Messages
3,459
i know it is a studio tool used a lot for it's reverbs and its "special effects", my question: were there other guitarists using it in the early 90s that
made it popular, ohh, duh, i just forgot, didn't EVH use it for the detune sound? so him (evh), Vernon Reid and Vai? where there any others or were they the
big 3 of the day?? just curious...

I was always under the impression ED used the H910's for detune.
 
Messages
4,786
Thanks to everyone for the feedback.

Hi Italo,
I figured you'd pop in. I can't decide if you are being helpful or condescending?
I'll assume the former. I've owned or used 90% of the boxes you mentioned above. Some, in my opinion are way over hyped and command a high price because Landau,lukather etc used them back in the day (BTW none of them use that stuff now and Landau, Luke and Huff can make anything sound great) I prefer SDE-3000's over the 2290 and an echoplex over all of them but find it impractical to gig with. Way too high maintenance. I am a guitar player and don't care about studio use, just tone.

So for me,
Before I go spend $1,000+ (according to ebay prices) on a device that could be almost 30 years old and likely will not by my all encompassing multi effects box, and I will not be able to hear before I buy, I'd like to understand why people see such value in it as a guitar processor. As I mentioned-when I hear demo's, it's usually of a guy doing some "black hole" patch where the notes extend into crazy harmonics. No doubt that is an incredible feat in processing as I hear little or no stray artifacts when the delayed/harmonized sound gets into those upper partials. It's really cool...for about 30 seconds, then I move on to something more practical, like how are the delays? Does it give my sound depth? Some boxes just make your tone better by simply being plugged in, like the Echoplex, real tube reverb, Neve 1073If that's the H-3000, then awesome, I get it.

So what are the "processes" you speak of?


ANY process! The H3000 will make any effect sound great and the overall tone really good.
The split stuff (ADT) is wide and huge like you won't believe your ears. Listen to the Holdsworth thing here: https://www.thegearpage.net/board/index.php?posts/23124050/
Delays? Juicy with modulation deeper than anything and intense. Lfos run at sample frequency so thesweeps are very precise and beautiful. The ModFactory I & II modular algorithms add TapTempo w/rhythmic subdivisions and amazing filters to the echoes! The UltraTap does really nice effects too.
Modulation fx? Chorus is just unbelievable, from 6 voice to GLIDE effects. And so are flangers and phasers. Glides here: https://www.thegearpage.net/board/index.php?posts/23042590/
https://www.thegearpage.net/board/index.php?posts/23048017/
Reverbs are great... even glided ones: https://www.thegearpage.net/board/index.php?posts/23046951/
Being able to build your own things in the ModFactory I & II is a major plus.
Modulation of parameters, with the internal system based Function Generator or using MIDI CCs, bring life to the effects.
Pitch shifting? Really precise, big sounding, never sterile... still carrying the source harmonic content of the source, no matter what type you use... chromatic, diatonic, custom scales, reverse.
Pitch detection is probably the best ever made.
The sound is rich, strong, fat and HUGE!
Just get one and you won't be sorry... unless you think about how many years you haven't been using one for...
 

Blix

Wannabe Shredder
Silver Supporting Member
Messages
30,007
I was always under the impression ED used the H910's for detune.
H969's, then he switched to H3000 before the F.U.C.K album.
H910 here and there on the older albums, before he went all in with detune :)
 

chlorinemist

Member
Messages
747

This was the video that made me fall in love with the Eventide Harmonizer (and the TSC of course).

Many ppl call these tones cheesy but to me it sounds like timeless beauty. And I didn't even live through the 80s.... Maybe that's why
 

pfrischmann

Member
Messages
3,459
ANY process! The H3000 will make any effect sound great and the overall tone really good.
The split stuff (ADT) is wide and huge like you won't believe your ears. Listen to the Holdsworth thing here: https://www.thegearpage.net/board/index.php?posts/23124050/
Delays? Juicy with modulation deeper than anything and intense. Lfos run at sample frequency so thesweeps are very precise and beautiful. The ModFactory I & II modular algorithms add TapTempo w/rhythmic subdivisions and amazing filters to the echoes! The UltraTap does really nice effects too.
Modulation fx? Chorus is just unbelievable, from 6 voice to GLIDE effects. And so are flangers and phasers. Glides here: https://www.thegearpage.net/board/index.php?posts/23042590/
https://www.thegearpage.net/board/index.php?posts/23048017/
Reverbs are great... even glided ones: https://www.thegearpage.net/board/index.php?posts/23046951/
Being able to build your own things in the ModFactory I & II is a major plus.
Modulation of parameters, with the internal system based Function Generator or using MIDI CCs, bring life to the effects.
Pitch shifting? Really precise, big sounding, never sterile... still carrying the source harmonic content of the source, no matter what type you use... chromatic, diatonic, custom scales, reverse.
Pitch detection is probably the best ever made.
The sound is rich, strong, fat and HUGE!
Just get one and you won't be sorry... unless you think about how many years you haven't been using one for...


Thanks!!
This really helps. I get it.
I wouldn't use most of the sounds you linked to or at least as much of the effect but the head room is huge and so transparent..in a good way.
 

Anje

Silver Supporting Member
Messages
2,298
Yes, and I would add that I think (as I haven't studied it too much in the tech design details) a fair part of its "sound" is coming from the very good analog I/O stages.
 




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