NAMM 2017: Eventide teases "groundbreaking" plugin technology and new H9 algorithm

NAMM 2017: Eventide is teasing what it'll be showing at next week's Winter NAMM show, promising a new plugin technology and a new algorithm for the H9 Harmonizer.

On the plugin side, we'll be getting Structural Effects, a new technology that can split a sound into its tonal and transient components so that they can be processed indivdually and then recombined.

"It'll be fun to watch as the industry grapples with something as ground-breaking and revolutionary as Structural Effects," said Eventide's Tony Agnello, who's clearly feeling bullish about the technology. "The technique makes it possible to mess with sounds in ways that we've only dreamt of. In fact, we're getting results from testers that defy our imaginations. We can't wait to hear the sounds that artists and sound designers will create as they explore the new world of structural effects."

H9 owners, meanwhile, we'll be treated to a new multi-effect algorithm known as PitchFuzz. This combines delay, pitch-shifting and distortion and is Eventide's take on the fuzz octaver. It offers three chromatic voices, enabling you to create virtual chords and route them before or after the fuzz and delay effects.

"When we first announced the H9, it was viewed as 'just another stompbox'," reckons Tony Agnello. "It took a while for folks to grok that the H9 is different. It's a living, evolving platform. With the release of our latest algorithm PitchFuzz, we're giving H9 owners yet another useful and powerful creative tool for less than a night at the movies. With the H9, musicians have a world of studio-quality effects at their feet or on the console."

More details - including prices - will presumably be revealed next week via the Eventide website.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.