Eventide Anthology XI
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Turn it up to XI: Every Eventide Plug-in
Anthology XI is comprised of twenty three plug-ins based on over 45 years of Eventide studio mainstays, as well as current and future classics. From channel strips to reverbs to multi-effects, Anthology XI has tools to make every day tasks easier and to fire your imagination. A true must-have for any size studio.
Anthology XI comes with over 2,900 presets across the included plug-ins; many created by artists like Dave Pensado, George Massenburg, Tony Visconti, Vernon Reid, Richard Devine, Joe Chiccarelli, Roy Hendrickson, Alessandro Cortini, Andrew Scheps and Suzanne Ciani.
- Split audio into “Transient” and “Tonal” components
- Radically re-shape a sound by soloing the Tonal and Transient channels. Tighten up drums by dropping the tonal section, or tune a guitar into an ambient sweep by losing the transients
- Split, modify and reassemble any sound
- Fine-tune the split using the four “Structural Split” controls.
- Six Transient effects available: Delay, Tap Delay, Dynamics, Phaser, Reverb, Gate + EQ
- Seven Tonal effects available: Delay, Compressor, Pitch, Chorus, Reverb, Tremolo, EQ
- Waveform display for clear tracking of Transient/Tonal audio in real time
- Artists presets include Richard Devine, Chris Carter, Suzanne Ciani, Joe Chiccarelli, John Agnello, Stewart Lerman, Steve Rosenthal, Kaitlyn Aurelia Smith and more.
- Over 150 presets designed to inspire; including artist presets by Chris Carter, Colin Newman, Sasha and many more.
- Manipulate effects in realtime using The Ribbon to transition seamlessly between two settings of any combination of controls.
- Using the innovative "Slurm" control, smear taps together or modulate them to create truly unique reverbs.
- Create drastic changes in effect and sound by assigning the HotSwitch to an alternate version of the current settings.
- Use up to 64 taps to create simple repeats or morph delays into chorus and reverb.
- Speed up or slow down the rhythmic space between taps using the Spread knob.
- Use the onboard LFOs and envelopes to chop the sound source into stuttered rhythms.
- Control the stereo image of taps to alternate between hard-panned and mono.
- Sync the Length and/or Chop LFO speed to the DAW session.
- Use Mix Lock to scroll through presets while keeping the wet-dry mix constant.
- Optimized for live use with MIDI control of The Ribbon and Tap Tempo for quick meta control on the fly.
H3000 Multi-EffectsH3000 Factory
- Modular Effects Laboratory based on effect algorithms from the legendary H3000 Ultra-Harmonizer.
- Amazingly versatile, combining pitch, delay, modulation, and filtering in a modular interface.
- Offers unrivaled creative possibilities by virtue of a powerful combination of modulatable Harmonizer effects.
- Patch together any combination of 18 effect blocks, including the H3000 Function Generator which employs19 wave shapes in endless permutations.
- Over 500 presets including over 100 artist presets and over 100 presets from the original hardware.
H3000 Band Delays
- Taken from the Band Delays algorithm from the classic multi-effect processor, the H3000 Ultra-Harmonizer.
- 8 voices, each of which can be altered by frequency, resonance, filter type, delay time, volume and panning.
- Assign the H3000 Function Generator to several parameters to create movement and bring life to drums and stringed instruments.
- Excellent for unique vocal delay effects that don’t fill up the mix.
- Route a MIDI keyboard to the plugin to play the filters as musical notes.
- 8-voice diatonic pitch shifter using pitch shifting technology from Eventide’s flagship H8000 effects processor.
- Select key and scale. 8 voices with panning, delay, detune, and feedback to create beautiful harmonies and sequences.
- Great on monophonic synths, guitar, and vocals.
- New pitch-tracking ‘off’ mode allows it to shine on polyphonic and rhythmic sounds.
- Unique Notation Grid allows for a more musical programming experience.
- An inspiring compositional effect!
- 4 channel, lower CPU footprint version of Octavox.
- Optimized for multiple instances
- Four voices of diatonic Harmonizer pitch shifting.
- Features the Notation Grid - graphic placement of notes on a musical staff.
- Features 9 algorithms: 2 halls, 2 rooms, 2 chambers, 2 plates, and ambience.
- Includes tempo-synced delays, a compressor and 4 EQs.
- Artist presets created by Andrew Scheps, Brian Montgomery, Charlie May, and many others.
- Extremely versatile reverb – use it on any audio source.
- 2 Moveable microphones to adjust depth of field and room reflections
- Adjustable polar patterns for microphone 1 to adjust the amount of ambient room tone
- Eventide’s complex reverb algorithm with EQ, diffusion, and decay control
- Compressor module on microphone 1, just as Visconti had in the original session
- 2 linkable, post-reverb gate modules with control of when the gates close, the speed at which they close, and the length of time they are forced to stay open
- Console (inspired by the one used in the session, including Visconti’s ‘grease pencil’ labelling) that provides post-reverb channel processing for each individual mic and the master
- Room mixer module alters the sound of the room itself with control over decay, diffusion, and frequency response
- Light weight! Low CPU loading allows you to put Tverb on multiple tracks
- Signal inversion buttons to remove (or create) phase cancellation
- Mix Lock allows for scrolling through presets or settings while keeping the wet/dry mix constant
- Complete automation support
2016 Stereo Room
- Natural and distinctive sounding room reverb
- Simple, intuitive parametric controls that prevent unnatural results
- Complex early reflections resembling those of an actual great-sounding room
- Smooth decay tail that sits in the mix
- Novel Position control for precise mic placement in the virtual room
- Diffusion alters the character of the space - from sharp to rich
- Dedicated EQ controls to further sculpt your sound
- Low CPU hit - use as many instances as you want!
- Incredibly easy to use with over 50 presets; many created by Eventide artists.
- Ability to create extremely musical effects useful for highlighting key instruments.
- Supernatural settings for abstract spatial effects and drones.
- Subtle settings for ambient washes and track highlighting.
- Unique “Gravity” control reverses the arrow of time by inverting the reverb's decay.
- Kill Switch mutes the input so you only hear the reverb. This makes for some incredible effects when automated.
- Mix Lock allows for scrolling through presets or settings while keeping the wet/dry mix constant.
- Fully flexible mono and stereo options. Bring new realms of stereo imaging to mono instruments.
- Innovative Ribbon and Hot Switch allow for changing any combination of parameters simultaneously.
- Create out-of-this-world soundscapes by increasing the Size and Overdrive.
- Use it as Mono-In/Mono-Out, Mono-In/Stereo-Out or Stereo-In/Stereo-Out for ultimate flexibility.
- Smoothly move from Softclip distortion to Overdrive for ripping transitions.
- Use the Wobble control to create spooky detuning effects.
- Use The Ribbon control to easily manipulate multiple parameters in a live situation.
- Program the HotSwitch to instantly change multiple parameters at once.
- Optimized for live use with MIDI control of The Ribbon and Tap Tempo for quick meta-control on the fly.
- Use Mix Lock to scroll through presets while keeping the wet-dry mix constant.
- The H910 Harmonizer was the first commercially available digital audio effects unit ever made. Its sound is featured on countless hit records and was adopted by industry luminaries like Tony Visconti for use with David Bowie, and was a staple of Frank Zappa’s guitar rig.
- The world’s first Harmonizer, the H910 captures all the realism of the original, and sets the standard for pitch shifting effects. Change pitch, double-track, or use Anti-Feedback for a slight pitch modulation.
- Designed with graphic knobs and buttons that resemble the controls on the original unit yet enhanced for more intuitive control.
- Multi-effects Harmonizer with deglitching and longer, randomized, and reversed delays.
- Micropitch mode for small pitch intervals, reverse pitch shift, with delay and repeat modes.
- Combination digital delay, pitch changer, and all around special effects unit.
- Original hardware popularized by Jimmy Page and the only piece of digital gear to grace his rig.
- Two independent units with cross feedback and stereo width controls for amazing steroizing effects.
- Combining the multiple effects available on each channel mixed together to create a new world of sonic possibilities.
- Based on the classic 1971 combination compressor, expander, limiter, and dynamic reverser.
- Features the unique ability to either compress or expand audio.
- Super crunch sound using extreme compression - sounds great on everything from male vocals to a drum buss.
- Perfect for side-chaining kick drums.
- Original hardware used by Brian May, lead guitarist of Queen.
FL201 Instant Phaser
- Recreation of one of the first hardware products to faithfully simulate tape flanging.
- Choose or combine modulation sources, including the LFO, or input signal (envelope follower), or manual sweep (which can be controlled by MIDI).
- Use FEEDBACK to add output audio back into the input for interesting effects.
- DEPTH DOPPLER allows you to add direct signal to the effected signal output.
- Simple to operate with high-quality results.
PS101 Instant Flanger
- Recreation of one of the first boxes to simulate tape flanging.
- Modulation sources include Manual control, LFO, and Envelope Follower.
- Manually sweep by turning a knob.
- Save and recall favorite settings.
- MIDI control of sweep effect.
- DOPPLER for vibrato effects.
- Pseudo Stereo effect.
- All-in-one channel strip useful on vocals and instruments.
- Re-orderable gate, compressor, O-Pressor (compressor section from Ominpressor), and 5-band parametric EQ.
- Additional Micro Pitch Shift, and stereo delays.
- Output models transformer saturation for added warmth.
- Stereo delays feedback can be routed through any part of the signal chain for a wide-range of ‘organic’ effects.
- Precise tone-shaping and frequency-manipulation.
- FlexiPath™ Routing allows processors to be ordered based on desired workflow.
- Gate module removes signals occurring below the designated threshold; great for multi-miked drum kits or fret noise.
- Compressor alters the dynamics of your input signal, with optional soft saturation to add character and a de-esser to reduce hiss. Use the side chain to trigger gain reduction for competing instruments.
- Five-Band Parametric Equalizer allows for precise frequency manipulation throughout the entire audio spectrum.
- Output Transformer adds subtle yet distinct effect on signals with lots of low frequency content, or can be driven into saturation for analog warmth.
- Analog circuit model of the Urei 545 parametric EQ.
- 4 bands of Parametric EQ.
- 24 dB Octave High Pass and Low Pass filters.
- High-cut and low-cut Butterworth filter sections (12 dB/octave).
- Continuously tunable Low and High cut filters.
- Accompanying Width and Gain controls for each parametric filter section.
- Overload protection mechanism.
- Capable of subtle or drastic changes without unpleasant artifacts - sounds ‘analog’.
- Streamlined, easy to use interface.
- Several instrument-specific presets to help you carve your tone and mix your tracks.
- Circuit model of the Urei 565 filter set.
- Comprised of a 36 dB Octave High Pass and Low Pass filter and two additional configurable filters as Band Pass or Notch.
- Perfect “problem solver” plugin by using the Band Pass configuration to identify unwanted frequencies or resonances and then switching to Notch to remove them.
- Powerful, Hi Q Notch filter with sufficient rejection to entirely filter out single sine waves.
- Great for video post-production to filter out hum and noises.
Precision Time Align
- Synchronize signals to microsecond accuracy, up to 1/64th of a sample.
- Phase Invert button fixes mirror-image acoustical phasing.
- Precise Coarse and Fine controls optimize time shift in recordings.
- Perform negative delays, moving the track up in time relative to other tracks in the recording.
- Four different methods for calibrating the signal to achieve perfect signal matching.
- Precision Time Delay also included for use with D.A.W.s lacking delay compensation.
- Much faster and more accurate workflow than trying to manually align in your DAW