A profanity delay lives between a broadcast studio and the air waves, allowing broadcast engineers time to catch and 'bleep' obscenities before they hit the air-and before the broadcaster is hit with a fine from the FCC.

It is worth noting that Eventide also had -and still has-its hands in a number of other markets, including profanity delays for broadcast. This article explores both the under-the-hood technology of the H3000 and the developments at Eventide that ultimately led to its creation, beginning with the truly groundbreaking H910.ġ979 Eventide Clock Works Harmonizer H910

And while vintage units can be had at reasonable cost, rest assured that most of the H3000's algorithms have been ported to software plugins. Whether in its original yellow-on-black cosmetics, the iconic gray-on-blue, or the later D/SE and 'squiggle font' D/SX incarnations, the H3000 is immediately recognizable in the racks of the finest studios and producers around the world. The H3000 was, in its designers' own words, 'a multi-effects monster,' combining Eventide's standard-setting, pitch-shifting algorithms (now fully diatonic and stereo), along with delays, a comprehensive library of modulation effects, and powerful reverb algorithms-all in a modular, upgradeable package. Around the same time, Eventide released what would ultimately become a multi-effects staple, the H3000. The Yamaha SPX-90 and Lexicon's PCM 70, both released in 1985, successfully adapted algorithms from their flagship products into devices at a price point that placed high-quality reverbs, delays, and modulation effects within reach of musicians and smaller studios. The mid-to-late 1980s marked the beginning of what could undeniably be considered the golden age of digital multi-effects studio processors.

Eventide h910 harmonizer studio