Eventide’s Harmonizer family of products are a curiously named bunch. Most do, in fact, harmonize and produce related pitch effects. But Eventide’s new H90 Harmonizer, like its predecessor the H9, also does about a million other things very, very well. It’s a powerful multi-effect that, in its new incarnation, offers thousands of vintage and future sounds and generates rich textures and tone colors that can transform the germ of an idea into a foundation for composition, or something grander, quickly and with relative ease.
Brother to Legends
The H90’s architecture is rooted, to some extent, in that of the H9000 Harmonizer, an $8K, rack-mounted, ultra-deep studio instrument utilized to wildly varied effect by producers, film score composers, and deep-pocketed sound experimentalists. The notion of a compact derivative of the H9000, even with a fraction of the functionality, at a little more than a tenth of the price, is appealing for obvious reasons. But the H90 is impressive outside of comparisons to the H9000. It’s very practical— particularly if you work sessions, multiple bands or gigs, or create and produce music on the move. Its footprint isn’t much larger than its predecessor, the H9. And, if you consider its size relative to its capabilities, there is little that even space-obsessed pedal heads can complain about.
If you’re the impatient sort, or just like to chance upon sounds, you can dive headlong and blind into the H90’s world of sound and get cool results. The excellent factory presets make intuitive voyaging a lot of fun. And the streamlined control set makes transformative tweaks easy. That said, you can get in the weeds pretty quickly if you choose to forego a read of the manual or quick start guide. The H90 does a lot. And if you intend to unlock even a fraction of its capabilities you should plan on some homework.
The H90 features 10 new algorithms. Some are familiar effects, like the SP2016 plate reverb emulation, a TS-style overdrive called the “weedwacker,” and an emulation of the old Eventide PS101 phaser. Other vintage flavored algorithms include a multi-head delay and Uni-Vibe emulations. More “modern” sounds come via a polyphony algorithm that enables harmonization in specific intervals, and a “wormhole” algorithm that creates the kind of spacious, pitch-modulated reverb washes you associate with CGI animations about the vastness of the cosmos.
Perhaps the most significant enhancement in the H90 is the capacity to use two algorithms in series or in parallel and shape them independently. This capability, along with the streamlined, well-considered parameter controls for each algorithm, exponentially stretch the depth and potential of factory presets and the ones you’ll make on your own. Routing and connectivity options are impressive, too. Dual routing means you can set up two independent stereo paths utilizing two different algorithms. There are also MIDI in and out jacks, two inputs for expression pedals or auxiliary switches, and a USB-C port for use with the Eventide H90 Control app.
Harmony of the Spheres—And Many Other Shapes
Listing the sounds the H90 makes would take a review many times the length of this one. And that would only scratch the surface. But it’s easy to see why so many musicians that have to cover a lot of bases found the H90’s predecessor, the H9, so appealing and valuable. Because once you get your presets dialed in, you can switch readily between familiar vintage sounds and completely alien ones.
As anyone that has used an H9, Space, or TimeFactor can tell you, modern Eventide effects tend to be deep, expansive, and capable of very rich sounds. But the twin algorithm capabilities often create a perceptible extra layer of intricacy that, when dialed in carefully, generates intriguing lattices of sound that can be subtle or strange.
”For a lot of players, the H90’s price tag, which is roughly the same as a high-quality affordable guitar or amp, will be worth every penny.“
Sometimes the dual algorithms can produce familiar tones. The “hey floyd” program, heard in the accompanying audio clip 1 combines the weedwacker and “spacetime” programs’ “outer limits” preset to create a pretty convincing take on David Gilmour's Big Muff and Electric Mistress tones circa The Wall. In the “fuzzy old bits” program (clip 2), a vintage rack delay model and spring reverb emulation combine to create a combination of ’80s dotted-eighth delay and ’60s surf ‘n’ psych ambience.
The complexity in dual program settings doesn’t necessarily mean they are a washy mess. Combining harmonic modulation with a modulated echo and reverb lends weird animation and movement from odd harmonizing overtones in the “gentle arps” setting (clip 3). “Floating in Space” (clip 4) demonstrates the intricate but clear wash you can create by using two blackhole algorithms at different settings. “Dream Sequence” (clip 5) probes the more ethereal capabilities of the H90, combining emulations of the old Eventide H910 and the spacetime algorithm.
The Verdict
At about 900 bucks, the H90 is a high-ticket piece of kit. If you’re strictly a guitarist, your tastes include unconventional styles, and you have a very open mind, the H90 can transform what you play, guide you along unexpected creative vectors, and extract you from a rut in a flash. It also gives you access to a vast library of familiar sounds And for a lot of players, the H90’s price tag, which is roughly the same as a high-quality affordable guitar or amp, will be worth every penny. Multi-instrumentalists are likely to get even more out of the investment.
Whether you want to invest the time in digging deep into the H90’s considerable powers so that you can justify the price tag is another matter. The H90 is intuitive enough that it takes just minutes with the unit to yield buried treasure. But this is also the kind of pedal that can chew up hours of studio time if you’re not careful. A little focus and discipline—and a concerted investigation of the manual—can go a long way toward making freer, more intuitive exploration possible down the line. And unless you’re really averse to digital interfaces, there’s little cause to be intimidated by the H90’s deep capabilities. With practice, programming your own very individual presets becomes a satisfying, creative endeavor, and you’re likely to make a lot of amazing sound discoveries along the way.
Grammy Award-winning artist Warren Haynes is a cornerstone of the American music landscape, lauded as one of the most formidable and prolific guitarists, vocalists, songwriters, and producers of the modern era. Gibson is proud to announce its partnership with Warren Haynes for the release of his first signature guitar, the Gibson Warren Haynes Les Paul Standard. The Warren Haynes Les Paul Standard from Gibson is available worldwide now at the Gibson Garage Nashville and London, at authorized Gibson dealers, and on Gibson.com.
“I’ve always been a Gibson guy—I got hooked on that sound as a teenager and have been playing them ever since,” says Warren Haynes. “Needless to say, I’m honored to be partnering with Gibson to release my Signature Les Paul Standard. Being traditionally a humbucker guy, I’m really loving the hum-free P-90s. It’s a really cool tonal change, and the boost offers even more tonal options. I’m really enjoying playing this guitar on stage and looking forward to using it in the studio. I’m equally psyched that other guitar players will now have the opportunity to own and play one as well.”
Warren Haynes effortlessly cross-pollinates genres and unfurls solos that broil with passion in his distinctive, signature playing style. Renowned and highly regarded for his work in rock, blues, and Americana music through his work with the Allman Brothers Band, as a founding member of Gov’t Mule, the leader of The Warren Haynes Band, a solo artist, and as a session guitarist and sideman for numerous famous friends and groups. As one of music’s most treasured storytellers, Haynes and his artistry have led to thousands of memorable performances and millions of album and track sales. A master of multiple styles and genres, Warren has also shared his expertise with other players via multiple instructional videos. A self-described “Gibson man,” Warren has used several Gibson models throughout the years, including his cherished ’61 ES-335™, among others.
The new Warren Haynes Les Paul Standard is another standout, with features tailored specifically to Warren’s preferences, including a mahogany body with a plain maple cap, a 60s Cherry finish, a mahogany neck with a chunky 50s vintage profile like all of Warren’s favorite Les Pauls, a rosewood fretboard with acrylic trapezoid inlays and 22 medium jumbo frets, a pair of P-90 DC pickups that deliver hum-free performance with all the sonic nuances of traditional P-90 DC pickups, and a 15 dB boost that can be activated via a mini toggle switch. The quick-access battery compartment is mounted into the control cover on the rear, and the guitar will still function, even if the battery dies, by simply flipping the mini toggle switch to the off position.
Bearing the traditional looks and feel of a 50s-era Les Paul coupled with modern features like hum-free P-90 DC pickups and an onboard boost, the Warren Haynes Les Paul Standard bridges modern and traditional and is a great choice for players who, like Warren, want both a traditional appearance and modern functionality in one outstanding guitar.
Last fall, Warren Haynes released his fourth solo album, Million Voices Whisper, via Fantasy Records. Haynes sounds as energetic and focused as ever on the self-produced album, powering through an 11-song set of soulful blues-rock, his first solo collection in nearly a decade. Accompanying Warren on the collection are members of his current all-star band, including John Medeski on keyboards, longtime drummer Terence Higgins (of the Dirty Dozen Brass Band), and Gov’t Mule bassist Kevin Scott. Million Voices Whisper also features guest appearances from his Allman Brothers Band compatriot Derek Trucks, whose unmistakable guitar sound toughs up three tracks on the album that were co-produced with Haynes, and his Last Waltz tour co-stars Lukas Nelson and Jamey Johnson, who are featured on the forceful “Day Of Reckoning.” Joining Haynes in the studio for the first time since the final sunset of the ABB, one of the featured tracks with Trucks on guitar is “Real Real Love,” a song initially co-written with Gregg Allman that Warren finished in Allman’s style and methods as if Gregg were singing it to honor his friend.
Buzzing through the chart-topping album is the question of how to make things better—in love, in life, in the world—led by Haynes’s soaring vocals and the poignancy of his six-string mastery. Million Voices Whisper opens with “These Changes,” a co-write with Trucks, leading into “Go Down Swinging,” co-written with Johnson, which features a horn section and a Van Morrison vibe. Then, there’s the soulful power ballad “Till The Sun Comes Shining Through,” driven by Warren’s impassioned vocals and slide guitar skills. The expressive pipes of touring backup singer Saundra Williams are also heard on multiple tracks, including the lead single “This Life As We Know It,” which reached Top 15 on the Americana singles chart and Top 40 at Triple A radio. Among the four bonus tracks on the deluxe CD version is a new version of the Trucks-Haynes composition “Back Where I Started” featuring Warren on lead vocals and slide guitar and the power trio of Haynes, Nelson, and Johnson covering the CSNY classic “Find The Cost Of Freedom” into an extended version of “Day Of Reckoning.” Million Voices Whisper combines the eloquent musicianship of a triple-threat blues-rocker with the glowing spirit of a vital creative artist at the peak of his powers.
For more information, please visit gibson.com.
Gibson Warren Haynes Les Paul Standard Electric Guitar - '60s Cherry
Gary is not exclusively a destruction machine. Its distortion/overdrive section is a very streamlined take on EarthQuaker’s Gray Channel, a versatile DOD 250-derived double distortion. Like any good circuit of the 250 ilk, Gary’s hard clipping OD/distortion section bites viciously in the high- and high-mid frequencies, supported by a tight, punchy low-mid output. You can play anything from balanced M.O.R. studio crunch to unhinged feedback leads with this side of Gary. But it’s the envelope-triggered pulse-width fuzz—which most of us will hear as a gated fuzz, in many instances—that gives the Gary its werewolf duality. Though practice yields performance patterns that change depending on the instrument and effects you use around the Gary, its fuzz ultimately sputters and collapses into nothingness—especially when you throw a few pitch bends its way. The cut to silence can be jarring, but also compels a player to explore more rhythmic leads and choppy riffs that would sound like sludge with a Big Muff. The Gary’s unpredictable side means it won’t be for everybody, but its ability to span delicioso distortion and riotous splatter fuzz in a single unit is impressive.
EarthQuaker Devices Gary Automatic Pulse Width Modulation Fuzz/Overdrive Pedal
