Deep Review of Eventide H9 Max

Deep Review of Eventide H9 Max | Part II

6/6/2019

:: TIMEFACTOR

If delay effects are your shtick, then you’ll be hard-pressed to find better echoes or delays anywhere. It could be just my own misperception, but I’ve noticed that the two biggies who get compared against each other most often are Eventide and Strymon. Hey, c’mon now – we’re talking the crème de la crème of studio-grade stomp boxes here. It’s a fair statement to say that Eventide and Strymon each offer certain unique sonic qualities. Perhaps Strymon effects come across as a being a wee bit more analog-ish sounding. On the other hand, Eventide’s digital DSP is anything but sterile-sounding, and they are lusciously dimensional. I read one user’s comment that mirrors my own findings. I’ll paraphrase it for you now.

It is digital, but I wouldn't describe the sound as digital. To me it sounds STUDIO. It sounds professional. Despite being digital, it sounds warmer.”

I concur with that chap’s assessment. Try as hard as I might to detect ill-wanted artifacts, H9’s lush, evolving delays never fail to carry me off to another plane of musical bliss. The ‘Digital Delay’ algo - as does its fellows - yields optional degrees of luscious modulation specific to the repeats. If you’re fortunate enough to have a stereo setup at your avail, there are dizzying amounts of swirling, bouncing, stereo-driven options on tap. If you long for the clarity of digital, without sacrificing analogue-like warmth, be sure to check out the “Dual Big Warm Digital” preset. A couple of my GO TOs from other algorithms are the “Every Lead You Fake” found under ModDelay, and “Record Head” in the Tape Echo group.

It would be a fool’s errand to attempt covering each preset, within each algorithm, of each category, in a single review article. For brevity’s sake I’ll cut to the chase. I can assure you that all 10 of the echo/delay algorithms sound brilliantly freakin’ awesome! Of course, I mean that from a completely detached, unbiased position. *Grin.

:: MODFACTOR

Moving along to the ModFactor column is where the ‘80s child in you will want to come out and play with revelry. Commensurate to Eventide’s typical modus operandi, there are plenty of spectacular epitomes of lush chorusing, warbling flanges, bombastic phase shifting and the like. Of particular peculiarity is the “Undulator” algo. This one is a captivating blend of dual delay lines with two detuned voices, and a FM (frequency modulated) tremolo. Used liberally, things can start to become unwieldy, but judicious degrees of the effect produce unique, intriguing, modulated delays. And no, one can’t really reproduce this algorithm’s distinctiveness with any of the other modules.

Another one of ModFactor’s greatest hits for me is the “Q-Wah”. Très cool, funk-a-licious auto wahs are just waiting for a chance to bait you into 70s afro mode here, man! It goes without saying that slipping an expression controller into the fracas will seriously bring out the “Electric Slide” in you, Sly.

A few of the presets are namesakes of famous songs evoking a memory response and an anticipation of the kind of sound to expect. Case in point is the PHASER algo patch, “Ain’t Talking ‘Bout Phase”. Would anyone care to have a friendly dose of Eddy’s MXR Phase 90 tone . . . anyone?

Expansive “Dimension C” styles of chorusing are found within the CHORUS group, as are other chorus-y charms reminiscent of vintage Small Clones, and CE-1 inflections. Notwithstanding, superlative Eventide-crafted chorusing is on hand as well. Although one of my all-time favourite chorus pedals is a black label BOSS CE-2 (circa 1978 – 1982), I am absolutely enthralled by Eventide’s ModFactor species too.

Classic ‘jet plane’ flanging and then some, is stacked up in the FLANGER mod. From silly wild to chilly child, there’s plenty of 90s swirl here for everyone.

ModFilter features a set of groovy, modulating band filters that can produce whacky effects that make your notes sound like they’re being bounced around on ping-pong balls, or cool wah-type filtering.

Another one of H9 Max’s secret-sauce sleepers is the deliciously swirly “Rotary” algorithm. I’m not proclaiming that it can perfectly replicate the sound of a physical Leslie® G37 or a vintage Fender Vibratone cabinet; nonetheless, this algo produces above-average facsimiles, and the whirly swirly is but a stomp box click away. Again, an expression pedal proves to be invaluable here since it will facilitate speed adjustments on-the-fly. The ROTARY too, begs the benefits of a stereo rig – I promise that it will duly impress.

From swampy sine wave oscillation to modern, choppy pulse, TremeloPan can practically replace any dedicated pedal. There is plenty to explore. Lastly, zany audio-mangled ring modulator effects are in abundance throughout all of RingMod’s presets. Certainly you can go all “Dr. Zorbo” with RingMod if you want. Perhaps I’m too old and stayed in my ways, but I don’t know what I’d ever do with this algorithm, and I don’t personally know any other guitarist who uses ring modulation. Be that as it may, I’m confident that many synthesists will find lots of use for it. After all, the H9 is not just for guitarists – bassists and keyboardists will love it too. *Wink.

:: PITCHFACTOR

If you’ve been messin’ around with DAW plugins, FX pedals, or audio production since any length of time, you’ve most likely heard about the superiority of Eventide’s harmonizing and pitch-shifting algorithms – for good reason. Why, Eventide practically invented the field. Most nearly every other replication of Eventide’s original sonic stamp is just that; a copycat (no offense intended). Here too, is Eventide’s supremacy realized; what, with lightning fast pitch tracking and highly accurate intonation et al. Many of the most memorable, highly-regarded algorithms are stuffed into the Max, including Quadravox, Octaver, Crystals and more.

Amongst the sundry PitchFactor selections you’ll find everything from pleasant, intriguing sublimity to other-worldly mayhem. Some of the pitch-shifted, tap delayed patches contained in the DIATONIC batch will have you sounding like a Brian May mini me almost instantly. You can get crazy creative with much of what’s compiled into the PitchFactor category – or you can just get weird. I’m a blues/country/classic rock kinda guy so some of the presets scare me . . . kidding.

:: SPACE

Likewise, the Factor series’ “Space” discoveries are to live for! Herein you’ll find greats such as Shimmer, Blackhole, MangledVerb, and ModEchoVerb; in addition you’ll enjoy the expected standards like room, hall, plate, and et cetera. Ever being the ol’ skool traditionalist that I am, one of my all-time favourites in the bounty is the “TremeloVerb” algo. Oh yeah, baby – swampy and hypnotically pulsing vibes just like you’d get out of an old blackface Fender tube amp. I’d be confident to put this algo head-to-head against any dedicated FX stomp box from any competitor (Keely Trem-O-Verb, for example).

Click to Zoom

I’m totally digging the “SPRING” algo. I’m snobbishly persnickety where spring reverb sounds are concerned; after all, I grew up with old Fender and Traynor tube amps back in the day long before they were considered vintage – they were just what was commonly available. That said, I know what good, genuine spring reverb sounds like, and this particular algorithm is one of my very favorite replications of it. True, it’s a digital reproduction, but direct, side by side comparison reveals it to be a very worthy stand-in. There are reams of depth and richness available with just the right amount of sproingy-ness. What’s more, a sumptuous feast of temelo-isciousness is right there for the picking as well.

Other stand-aparts that I’d like to highlight are “DynaVerb”, “Shimmer”, “ModEchoVerb” and “Blackhole”.

DynaVerb couples an Eventide Eclipse reverb with a model of the Eventide Omnipressor® to create an adaptable dynamics reverb.

Shimmer divvies up sparkling, glacial harmonics that can cascade over your notes like a sonorous waterfall. There is a unique beauty inherent in Shimmer’s reverberation that mayn’t be analogized to any other time/spatial effect.

ModEchoVerb artfully combines luxuriant (hall-like) reverb with chorused (or flanged) modulation and delay. This one may certainly be considered a versatile go to. It can be used as a standalone reverb, delay, chorus/flanger, or any combination of the three.

Eventide’s Blackhole algorithm is one of the reigning champions of larger-than-life reverberations. This one is not intended to occupy the same space (pardon the pun) as your average room or hall verb. Instead, it specializes in extravagant cathedral milieu all the way through to out-of-this-world soundscapes. Even when this algo is set to near infinite decay, it remains enthralling and captivating.

H9 Exclusives:

Dear reader, are you tired yet? Well, too bad, coz there’s still more! . . . *Cheeky Grin.

While I am tempted to apologize for the length of this article, let’s not blame the author – it’s Eventide’s fault, for sure! After all, aren’t Eventide’s engineers the deviants responsible for veiling 49 algorithms under H9’s alluring exterior? All kidding aside, there is much to uncover -- in light of this write-up being a deep review. Let’s quickly take an overview of the specialties that Eventide has developed expressly for the H9.

:: ULTRATAP

First off, ULTRATAP was the premiere H9 algorithm, programmed and released with the product’s debut back in 2009. If the interface is familiar to you, it’s due to this particular algorithm also being one of Eventide’s Anthology Bundle DAW plug-in compadres. Where the majority of the user controls are commonly understood by anyone accustomed to working with tap delays, a couple of the dials are uniquely labeled: namely, ‘Slurm’ and ‘Chop’. Slurm smears the echoes by micro-tuning, not dissimilar to what an OSC Tuning knob on a synth does. It introduces an ever-so-slightly delayed attack, thereby softening the onsets of the repeats and smearing them together, as it were. For lack of a better description, it’s quite “reverberated” sounding. Furthermore, this slurming of the taps creates a somewhat chorus-y voiced effect as well.

Chop is a tremolo/slicer functionary that affects the audio signal ahead of its arrival at the Taps station. Chop can be assigned to various waveform shapes such as: Triangle, Saw, Ramp, Square, and others, thanks to an accompanying ancillary knob just abreast of it. Beyond its dead-center position, the (mode?) dial causes tremolo effects to give way to a ‘Swell’ mode. Here, slower attacks ensue until turned fully clockwise, where abrupt audio slices are created. UltraTap deserves to be its own algorithm and not just quietly slipped in as one of the previous TimeFactor batches – it’s sounds cool, radical at times, and certainly unique.

:: RESONATOR

Next we come to the RESONATOR branch. This one combines multi-line delays, voluptuous reverb, and tunable resonances. Obviously, the key ingredient here is the resonance – actionable via a quad of stacked comb filters. Each delay tap receives an assigned note value; ringing out at varied intensities according to the input audio strength and the level of the resonance parameter. Wide sonic variation can be achieved owing to the advantages of dynamically placed delay voices with musical note associations. Likewise, one may freely control resonators in real time through expression, providing you have an expression pedal connected.

:: EQ COMPRESSOR

EQ and Compression; that’s not terribly exciting, is it? Well, I guess it depends on whether or not you need a decent compressor that also boasts exemplary, built-in tonal control. Having been so greatly impressed throughout my exploratory experimentation of H9’s over-the-top, ‘Gee Whiz’ FX, I honestly wasn’t expecting to spend much time with this particular module. I’m not hurting for good compressor pedals. If I need squish, I can turn to my Monte Allums modded CS-3. If I’m in need of big, ballsy Tele compression, my early ‘80s, Japanese-made CS-2 is da bomb. For most nearly any kind of compression requirements, the Wampler Ego on my board is hard to beat.
As it turns out, the EQ COMPRESSOR algo quickly discombobulated my assumptive preconceptions; it wound up retaining my sincere interest for the better part of 90 minutes straight.

90 minutes!

I thought I’d yawn my way through a brief, obligatory check and hurriedly scamper along to another one of the more exciting doodads; instead, I happily twiddled n’ tweaked for an hour and a half.

This is a very usable compressor on its own – not necessarily an outstanding, must-have in the league of my beloved Wampler Ego or a Cali 76, but it certainly doesn’t suck The deciding factor that tips the scales so much in its favour is the pair of Q-rangable parametric EQ bands on deck.

Unlike many common compressor pedals, this one can be adjusted to introduce weight to the lows as it simultaneously adds sparkle and liveliness to the highs -- all while evening out erratic dynamics. Conversely, you can rein in a boomy low end and dial back those unwanted ice-pick highs . . . you get the picture.

This compressor can easily squish your signal until it is reduced to pulp, yet it can also be configured to tame dynamics with an unobtrusive, almost transparent quality. The EQ bands are adjustable anywhere between 30 Hz – 1500hz on the low side (Frequency 1), and between 1000 hz to 9.99 kHz on the high side (Frequency 2) -- with extremely variable Q width to boot. Let’s not overlook that one is free to compress pre-EQ or post-EQ. Moreover, unlike a bog-standard BOSS (or similar) stomp box, this algo cooperated very nicely with both my Les Paul and my single-coil Fenders. I suspect that bassists and keyboardists would fare well with it too. Heck, there’s even a couple of factory presets dedicated to vocal performance.

Click to Zoom

The EQ COMPRESSOR might not replace a high-end, boutique compressor pedal, but it does a good all ‘round job of holding down typical compression duties. My one niggle with it is that you can detect its digital DNA at aggressive compression settings; the attack becomes quite heavy handed and potentially ‘clicky’. However, I suspect that this could be smoothly remedied if there were a ‘Mix’ knob, or at least an ‘attack time’ parameter added.

Hey, Eventide Team, please take this last observation under consideration for a (hopefully) upcoming revision, ok?"

:: CRUSHSTATION

Hmmm. Things that make you go, hmmm.

Crushstation is both good and not-so-good. It is outfitted with really nice accoutrements, but its androidian construction is not made of tubes or silicon op-amps; thus it doesn’t organically ‘breathe’ the way that 12ax7 or JRC4558 circuits do. Compared to all of the phenomenal pitch, harmonizing, modulation, spatial and echo-y effects packed into an H9 Max, I have pause with the two distortion fixtures trussed into the fray: Crushstation and Sculpt. Let me draw two polar-opposite comparisons. If I were just starting out with a cheap, make do $30 fuzz-awful noise box, but then found a shiny new H9 under the Christmas Tree with my name on it, I’d think it was a monumental step up. Ergo, if I were a seasoned, road-scarred, grizzly old professional rocker, I might not be so awestruck.

In a nutshell, I deem Crushstation to be a good digital distortion. I have a BOSS OD-1X here; it's a respectable digital overdrive/distortion pedal. I kinda-sorta put Crushstation into the same category as the OD-1X. It sounds really good, for an android. However, any tube man (or woman) worth his salt knows that Klons, OD-1s, OD-808s, Guv’nors, and the like, are all analogue, baby. Thankfully, ample tone-shaping is at hand by means of a three-band, parametric EQ; this helps considerably, but doesn’t totally eliminate the sterility of the algorithm’s binary 0s and 1s. The mids are sweepable between 200 Hz – 3000 Hz, whereas the bass and treble bands are fixed.

Unlike most of its rudimentary stomp box counterparts, Crushstation is outfitted with tweakable options aplenty. We have a flexible compressor – assignable PRE or POST EQ – a circuit-starving emulation called ‘Sag’, and a low end enhancer dubbed, ‘Grit’.

Click to Zoom

Overall, I’ve found that this algo’s sweet spot is generally realized in the mid gain territory with slightly reduced treble settings. Add in a bit of dynamics sweetening post-EQ, and you’ll achieve an adequate, gig-able distortion/overdrive tone. While ‘Grit’ can certainly add heft to the low mids, it can start to mud up if you aren’t judicious with it. Last, but not least, a very cool octaver is onboard too! Thanks to Eventide’s unparalleled pitch tracking and accuracy, the pitch-shifted octaves are really, really good. You have a choice of combining both (-1) and (+1) octaves, or either one by itself. Furthermore, you can dial in the octave(s) levels to taste.

Overall, this is a highly usable distortion (plus optional octaves) algorithm. It does head in the direction of analogue-ish sonority, but ultimately, it understandably remains digital sounding -- not bad, just digital. I rate this one 7.5 out of 10.

:: SPACETIME

Ladies and gentlemen, of all the crazy, cool, and unique FX accessible in the H9 Max, I consider the lustrous, capacious SPACETIME agglomeration to be the most apt, and multi-servicing of the lot. As immense as the collection of effects is, and regardless of how absolutely enthralling many of the sounds are, I was initially very disappointed to learn that only one algorithm can be loaded at a time. My disillusionment began to subside as I investigated “ModEchoVerb”, “TremeloVerb”, and some of the other 2-for-1 offerings. Notwithstanding, most guitarists would probably agree with me that there are three essential effects that should be found on any pedal board – following one’s requisite overdrive/distortion unit(s) of choice: a really nice reverb, a great delay, and a sweet chorus-type of modulation. Yippee! That’s exactly what Eventide has gifted us with in the SPACETIME capsule.

In keeping with the configurability of H9’s two-fold algos, this trifecta can be set up to use any one of the individual elements, or in combination – including all three simultaneously. If this weren’t enough, these can be flexibly routed in either parallel or in series (there are certain limitations). If this sounds slightly confusing, don’t worry about it -- there’s a brightly colored, dynamic flowchart called ‘Pedal View’ available that clearly shows you what’s happening. To help get you on your way, 23 inspiring presets are parceled in for your immediate musical pleasure. Of course, tap-tempo and expression pedal support are at-the-ready in a jiffy.

Click to Zoom

The modulation is most similar to a chorus and is the first effect in the signal path. The Delays are based on Eventide's Vintage Delay Algorithm from the TimeFactor pedal, and the Reverb section draws from both the Plate Algorithm in Eventide's SPACE pedal, as well as Eventide's ULTRA REVERB Native Plug-in. Unique to SpaceTime is the ability to route the Delays and Reverb in series or parallel after Modulation, further adding to its versatility and creative applications.”

Each of the three individual components sounds fab! The modulation is very chorus-like, but not quite a chorus. Make sense? No, probably not. Nevertheless, it’s a lush modulation effect; one that is most agreeable indeed to the ear. Likewise, the delicious pair of delay lines sound marvelously 3D-ish and potentially magnificent. The reverb module is a captivating sort. It is deep, dimensional and extremely gratifying. I’ve literally played nothing but long, sustained chords and simple chord arpeggios through this algorithm; remaining transfixed in an immersive wash of sonorous luxury.

Be that as it may, don’t think for a moment that this algorithm is solely for ethereal or whimsical greatness – no siree Bob! Crafty spanks of uptown slapback and good ol’ classic bar-band vibes are on tap too. There’s even a ‘Faux Leslie’ patch that gets dangerously close to some of the neighing sounds corralled in ModFactor’s ROTARY pen.

:: SCULPT

I’ll keep this segment abbreviated since much of my commentary regarding “Crushstation” and its digital makeup applies to this one as well. The primary difference between the two is that to my ears, SCULPT is somewhat smoother sounding. Where the former comes across a tad edgy, even at its lower gain settings, this one can be a bit milder, reminiscent of symmetrical overdrive pedals from yesteryear. Of course, your assessment might differ, but that’s how it sounds to me. And, similarly to Crushstation, this one also grants full user control over PRE or POST EQ compression amounts.

It is the EQ differentia that stands out the most, seeing that SCULPT employs a two band shelving layout as opposed to Crushstation’s three band parametric blueprint. A user can freely set the crossover’s intersect anywhere between 40 Hz to 5 kHz. Subsequently, each band hosts its own Drive control, allowing you to tailor the amount of distortion dedicated to that band. I foresee this being well received by bassists, since low end fundamentals can remain unprocessed (or lightly processed) while the higher band is harmonically overdriven — keeping the boom intact as a strong, harmonic presence slices through a congested mix. If you’re looking for big, phat, bottom end chug, give the ‘Low Boost’ knob a twist.

Click to Zoom

Lastly, a cool, scrappy secondary function is mixed up in the rumble in the form of an envelope follower. What this means in laymen’s terms is, “Ya can get a quacky wah-type of aftermath here, Bubba.” The envelope filtering can also be configured to behave adaptively, in that it will sway back and forth according to the intensity of your playing or input volume, thereby creating an effect akin to auto-wah.

Over and above Crushstation, this algo seems to react more naturally to pick attack and playing dynamics, making for a better degree of analogue-esque responsiveness. Furthermore, the two frequency bands can be lined out separately, where each frequency band will be channeled to one side or the other of H9’s stereo outputs – each going into a separate amp. Again, I can see this being especially beneficial for bassists who utilize bi-amped rigs.

Not unlike the extra convenience observed in SPACETIME’s second graphical view, this potent module of rock n’ rollery also provides an alternate panel: “EQ Curves”. Herein the crossover point and various EQ parameters are represented as nodes on a graph. You simply click n’ drag the sundry bits to quickly find your preferred sound instead of twisting dials on the main screen. Some users will no doubt find this to be a more intuitive and speedy way of gittin’ er done.

:: PITCHFUZZ

PitchFuzz is a multi-effects algorithm that rolls analogue-esque Fuzz, a trio of Pitch Shifters, and a pair of Delays into one, easy-to-use module. The first in line is the Fuzz, which takes its inspiration from classic analog fuzz pedals (as well as influence from Eventide's own CrushStation and Sculpt algorithms). Pitch-shifting comes in second along the signal path and is based on Eventide's PitchFlex Algorithm from the PitchFactor pedal. When the signal arrives at its final Delay stage in the chain, the train conductor bids farewell, assuring you that the echoes trace their lineage back to the Vintage Delay algorithm found in TimeFactor. Both Delays can follow the Pitch Shifters, culminating at the entire output signal or alternatively, they can be individually added to two of the pitched voices only, creating arpeggiated type effects.

Our aim with PitchFuzz was to create a single algorithm that could run distortion/fuzz into Eventide pitch shifters, and then into Eventide delays. It allows you to recreate some of the classic guitar sounds of artists such as Jimmy Page, Brian May, Frank Zappa, Eddie Van Halen and Steve Vai—all of whom used Eventide gear in their rigs during the ‘70s and ‘80s. It can also be used to recreate distortion sounds from the ‘90s alternative rock era and beyond.”
- Eventide Product Specialist, Alan Chaput

By my estimation, the above-quoted press release statement is accurate and well founded. It’s outside the scope of a review editorial to explain the differences between fuzz, overdrive and distortion, but put simply, think “Purple Haze” by Hendrix – now that’s a perfect example of classic, analogue fuzz tone. I ashamedly admit that I haven’t owned a fuzz box since I was in my early twenties; the genres of music I am involved in require more tube-like overdriven tones.

PitchFuzz brought a big grin of nostalgia to my mug immediately – “Whoa”, I exclaimed, “this is koool!” Do you know the sound I mean? That singing, violin-like sustain all mulched up into a deliciously gritty tonic of tone. This algo might not be able to knock a reconditioned, vintage Big Muff off your board, but it sure does sound legit. Adding in Eventide’s unbeatable pitch shifters – up to THREE AT ONCE – creates a cornucopia of audio assault.

Unleash it all through the mucho vintage-y echoes of the VintageDelay and you’re ready for Wembley Stadium, ’86. Yes, that’s a veiled Queen reference.

Each pitch shifter may be ranged anywhere between (-2) octaves below to (+2) octaves above the fundamental note – and everything in between, including micro shifts up to 25 cents in either direction. Needless to say, this can span cool, functional octaver effects to outlandish mayhem. If you use only two of the three available pitch shifters, and dial each one five to eight cents flat/sharp, you’ll end up with that classic Eventide chorus-y, thickening effect that had been exclusive to rackmount studio gear for years. Truthfully, I consider many of the included presets to be very over-the-top, yet they certainly show off the full potential of what this algorithm can do. The quality of the Fuzz itself is respectable. In my estimation, it does approach the sounds created by classic fuzz boxes of old; however, it veers off to Fizzy-ville and heads down Razor Blades Lane if you push it to extremes. A spread of 25 to 60 (9 o’clock to 1 o’clock position) on the FUZZ knob keeps it sounding its best.

Click to Zoom

:: HOTSAWZ

As of the date of this article’s publication (June, 2019), the most recent batch of elixir to have been boiled up for us in Eventide’s labs, is the HOTSAWZ potion. While I wouldn’t suspect your average chicken picker or blues boy to start jamming through it right away, funky cats, hip hoppers, and beatniks will dig it big time! In a nutshell, this one is a schematic to turn guitarists into synthesists without letting go of their six strings (or maybe 7 strings, or even 8?). The algo fully exploits Eventide’s pitch-tracking prowess and then reinvents it via a pseudo monophonic (subtractive) synth engine; offering six unison-stacked sawtooth oscillators, three modulation sources and four assignable destinations: Filter Cutoff, Volume, Pitch, and Oscillator Depth.

One’s playing dynamics and pick attack will dramatically influence the resultant synthesized sounds that this module can produce. While it is possible to dial in varying degrees of your guitar’s original signal with the resynthesized tones via the ‘Mix’ knob, in all likelihood you’ll want to use it fully processed. I’d never be foolish enough to promise you that your guitar will suddenly be transformed into a Taurus or a ’72 Model D, but HOTSAWZ does come across rather Moog-ish to my ears.

Unlike some of the factory presets grouped in with other algorithms - which tend to be overwhelmingly extreme - I consider all 33 choices up for grabs here to be pretty cool and perfectly apropos. I would go so far as to say that HOTSAWZ can even prove beneficial to pianists who would like to have mono-synth sounds at hand, although they otherwise might only have access to a basic digital piano (such as a Casio PX160 or Yamaha P125, for example). Not to be fatiguing through repetition, but as I’ve said about other algos, it behooves one to keep a good expression pedal under foot in order to maximize H9’s performance capabilities and your own measure of enjoyment. Doing so will accord you dynamic control over modulators, filters, and so forth -- much like a keyboardist has with a mod wheel.

Click to Zoom

Concluding Remarks:

I’m pleased to report that there is a lot to dig about the H9 Max and the entire Eventide algorithm eco system. By my estimation, the quality of effects here are some of the finest available – with the possible exception of the distorted categories. Frankly, I don’t suspect that there will ever be many professional guitarists (or keyboardists, bassists and etc.) that will be foaming at the mouth to acquire an H9 for its overdrive/distortion capabilities. Notwithstanding, the algorithms that Eventide is best known for are here in spades: Pitch Shifting, Modulation, Digital Reverbs, Delays, Harmonizing, and so forth. It is most impressive that one little stomp box can be crammed full with such a vast selection of astounding FX.

The needful inclusion of a few potent multi-module algorithms, such as ModEchoVerb and the SPACETIME collection, improves the H9’s versatility factor considerably. Be that as it may, it would undeniably be more beneficial were it possible to utilize two or more algos simultaneously -- after all, buying additional H9 Cores is not exactly the least expensive hobby that one could indulge in. I have no doubt that Android and iOS device owners will get a buzz from their H9 Control App escapades; at least it’s been a trippy adventure for me.

4.5 out of 5 Stars

:: Pros

Some of THE BEST digital FX - period.
Classy, professional-looking motif.
Rackmount, studio-grade sounds in a stomp box.
H9 Control App absolutely rocks with support for Android, iOS, OSX and PC!
Excellent build quality and crisp, clean, sexy chassis design.
Crazy number of FX (49 algorithms!) and any future algorithms are already part of your initial purchase.
Highly accurate built-in chromatic tuner (Not speedy to access during stage performance though).
While not inexpensive, adding additional H9 Core units will result in two (or more) Max’ed pedals. If you consider incorporating H9(s) as a long-term investment, they really do make sense.

:: Cons

Limited to one algorithm at a time.
It would be nice if more than 8 alpha-numeric characters were displayed at once.
It would be nice if Eventide stuck with common, BOSS-style AC (-) center schema.
DAW love is sadly lacking – while H9 Control App is excellent, it would be totally cool if it could also be utilized as a VST/AU/AAX plug-in. After all, a $700 pedal is a rather expensive copy protection dongle. *Grin.
Is it really necessary to NOT include a 6 ft’ USD to mini cable?

To check out other Eventide goodies, head over to the their web site:

www.eventideaudio.com

Stay in the Loop - Subscribe Today!

Would you like to receive email notifications of:

New reviews?
Exclusive Reviewer's Revival discount codes?
Special product sales?

No SPAM - Just the good stuff!

Brother Charles is a freelance writer, Gospel music artist and minister. Charles had been a professional touring musician during the nineties; working primarily as a lead guitarist in the Canadian country music industry. Brother Charles is also involved with music production and quality home recording."

Intellectual Copyright - 2019 - All rights Reserved. This review may not be copied or reproduced in whole, nor in part, without express written permission from the author.

<< - Part 1 ->>

Back to Main

0 Comments

Deep Review of Eventide H9 Max | Part II

​Stay in the Loop - Subscribe Today!

Leave a Reply.

Stay in the Loop - Subscribe Today!