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1. EVENTIDE H910 HARMONIZER IT FUCKS WITH THE FABRIC OF TIME SKIN
2. EVENTIDE H910 HARMONIZER IT FUCKS WITH THE FABRIC OF TIME PLUS

+ Learn audio production, composition, songwriting, theory, arranging, and more - whenever you want and wherever you are. This effect, the said sweeping swoosh, was characteristic to the entire album, and inspired the origins of many effects pedals since. The slight delay of one tape (less than 20 milliseconds) creates a swooshing sound that sweeps forwards and backwards out of time, as well as up and down the frequency spectrum. The technique comprises two tapes that are run at the same time on a tape machine, setting one slightly out of sync to the first, explains Fink. A technique known as tape flanging was used on these bass tracks a revolutionary sonic effect. The bass on Heroes, played by George Murray, served as the foundational rhythm tracks of Bowie’s songs.

+ Read more on Flypaper: “5 Creative Ways to Use Delay in Your Mix.” Tape Flange on the Bass This technique was so successful because it embraced the said reverb created by the environment while no subdued detail went uncaptured - which in turn, encouraged a unique vocal performance by Bowie. The one closest to Bowie would capture the soft vulnerable timbre in Bowie’s voice while the furthest would capture his bold belting baritone, resonating through the hall, and creating a surging reverb. (I think to get the true eighties sound, you need a slight repeat echo as well, but that’s another story).Fink explains to me that the first mic was relatively compressed, while the second and third mic was set up with gates that would open once a certain volume threshold was reached. If you combine that with mic-ing it and hitting it in the right way, you get that eighties DOOF DOOF sound. And as you miss that natural resonance and tailing off of the sound, it sounds unnatural.

EVENTIDE H910 HARMONIZER IT FUCKS WITH THE FABRIC OF TIME SKIN

The TICK is the drum stick hitting the skin, and the PHOOOOOoooo is the skin resonating and dying off to silence (quite quick with a snare).Ī snare drum recorded and passed through a gate, with the level set correctly, will go TICK-PHOO and cut off suddenly. (can’t come up with a better description). So if you say “HELLO HELLO hello hello” through a gate, and set it at the correct level, you will hear HELLO HELLO but not the hello hello bit.Ī snare drum in real life, if you listen to the actual sound, goes TICK-PHOOOOOooooooooo. The burst of heavy clipping snapping on and off with each hit makes the snare sound as if it had been gated.Ī “gate” is an electronic doo-dah you pass a sound through, and it cuts everything below a certain volume and allows through everything about a certain volume.

EVENTIDE H910 HARMONIZER IT FUCKS WITH THE FABRIC OF TIME PLUS

The harmonic distortion is so strong - a combination of analog overdrive plus over compression plus hard clipping at the converters - that when the amplitude of the decaying snare waveform falls back below the threshold of distortion, the harmonics of distortion stop, and it sounds as if the snare sound stopped. There are opportunities for overdriving the analog inputs, hitting the analog dynamics processors hard, as well as clipping the converters. A hot input into the H910 causes wild distortion. The digital processor in between handles delay and pitch shifting, while compression, expansion and filtering are in the analog domain before and after the digital signal processing block.

It has analog to digital converters, and digital to analog converters. It is an analog in, analog out, digital delay and pitch shifter. The Eventide H910 Harmonizer is one of the first digital processors available for the recording studio.

True gated snare must wait until Peter Gabriel’s Intruder in 1980, but the dense spectral burst of Sound and Vision’s pitch shifted snare, starting the instant the snare is struck, and then ending abruptly - unnaturally abruptly - almost certainly motivated the search that led to gated snare.

The snare sound in this tune is unique, not only in the spectral modification brought about through pitch shifting (see above), but also in that it sounds gated. Well, in the interest of pedantry the following from ‘Recordingology’ regarding Bowie’s Low: