As the computing world evolved, the desire for TDM plug-ins waned, and in late 2015 they made the jump to the native VST / AU format with Anthology X. Over the next three years they continued to add new TDM plug-ins to the suite, rebranding it as the more impressive-sounding Anthology bundle. Back in 2003, they released Clockworks Legacy, their first ever TDM plug-in bundle, which included the H910 and H949 Harmonizers, a sophisticated compressor called Omnipresso and the classic Instant Phaser and Instant Flanger units. When it comes to software, Eventide first embraced the Pro Tools TDM format. The innovation continues today with high-end units like the mammoth H8000FW rack effects processor, which remains one of the most lust-worthy hardware units on the market 12 years after it was first introduced. Many of their most well-received effects were developed back in the days when RAM had just been invented, so it's no exaggeration to say that Eventide was a pioneer in digital audio effects.
They also covered utilitarian applications like correcting the pitch of TV shows that had been sped up to allow more time for commercials. Going back all the way to the '70s, their Instant Phaser and H910 Harmonizer generated groundbreaking sounds on albums like David Bowie's Low. In the world of hardware effect processors, few names can match Eventide's acclaim.
Television stations were now able to speed up programmes while transposing the audio back down to its original pitch, fitting in more commercials in the process the device was also used as a creative guitar processor on hits by artists such as David Bowie and AC/DC. US-based manufacturers Eventide found commercial demand for their H910 Harmonizer unit, a device that could transpose an input signal in real time by an octave up or down. The 1970s and 80s also saw the birth of other iconic digital pitch- and time-based outboard effects. Like all digital reverbs, its method was based upon the generation of synthetic 'spaces' via complex algorithms and multiple delay lines, providing a somewhat unrealistic but convenient and customisable reverb effect, and the glossy Lexicon sheen became a staple of mainstream pop and rock from the 1980s up to the present day. Later updated to the 224X and 224XL, the 224 was a 4U rack with accompanying remote controller that, while appearing somewhat cumbersome by today's standards, was extremely compact and flexible in comparison to the old ways of doing things.
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