![]() ![]() Delay rhythms and melodies to create everything from slapback echoes to feedback chaos. ![]() ![]() Modify pitch by musical intervals to harmonize vocals or solo instruments.Optional “glitching” from the original hardware helps you create unpredictable sounds as it alters pitch.Anti-Feedback modulates the pitch around unity for a subtle or wild effect.Control them manually, via MIDI or with Anti-Feedback. True analog modeling of highly nonlinear electronics for faithful reproduction of the H910’s original juiciness and grit.Over 100 Presets including artist presets by Joe Chiccarelli (U2, Elton John), Roy Hendrickson (Frank Sinatra, Miles Davis), Robin Finck (Nine Inch Nails), Chris Carter (Throbbing Gristle, Chris & Cosey), Sasha & Dave Gardner, and The Butcher Bros.NEW OUT2 Delay Group adds inspiring attributes to your sound.NEW Envelope Follower – Slightly (or massively) vary the pitch to create new sounds.NEW Keyboard and MIDI mapping – With the H910 plug-in you can easily use MIDI to control pitch and harmonization in real-time.Oh, Kraftwerk used an H910 as well, are you surprised? ![]() Create insane mechanical sounds, drone effects or robot language using self-oscillation, delay and anti-feedback. Add harmonies or slapback delays to vocals. Try it on everything! Seriously, the H910 can work its magic to spread guitars (ask Eddie Van Halen about that!), fatten snares and apply subtle, organic de-tuning to synths. The good news is that the plug-in is now for the first time available unbundled, with several enhancements AND on sale for only $99 until J(MSRP $249). The H910 plug-in was modeled after every section of the analog signal chain to recreate the unique sonic characteristics of the original. The H910’s analog sound is unique owing to the fact that it predates the availability of even simple microprocessors or analog-to-digital converters (resulting in an imperfect yet charming early digital sound, with plenty of character!). Visconti used the H910 while recording Bowie’s “Low,” where it was used to create a snare drum sound that descended downwards, with the amount of pitch bend determined by how hard the drummer hit the snare ![]()
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