The two vintage Harmonizers still drip with glitchy, lo—fi digital character, Omnipressor remains perhaps the most vicious compressor ever made if you can negotiate its idiosyncratic input and output gain arrangements , and a particular highlight for me is having access to Instant Flanger again. To the original Clockworks Legacy suite it added two plug—ins derived from algorithms used in the H3000, called Band Delays and H3000 Factory, along with reverb and vocal harmony processors derived from the more recent Orville hardware unit, emulations of a pair of old Urei equalisers, two channel strip plug—ins, and a couple of neat utility processors for nudging audio forward or backward in very small time increments. The Blackhole and Mangleverb are both super creative reverbs. Ultra Reverb is another plug—in that has been significantly enhanced in Anthology X. I especially liked Ultra-Channel on solo vocals, particularly with a dash of Harmonizer thickening. It also includes future classics like UltraChannel, UltraReverb, Quadravox and Octavox that will help you solve problems and inspire new creative possibilities.
You can use a combination of preset intervals and pitch cents to produce the desired amount of pitch-shifting. Try running through some of the presets and watch the graphs bounce around. What is it like to use? Oh yeah, one of the two channel strips has the famous Omnipressor as its built-in compressor. Eventide has quickly become a leader in quality and versatile plug-ins for Pro Tools systems. Eventide have included the Quadravox plug-in as a cut-down version of Octavox from the original Anthology bundle; like E-Channel, it's designed to enable you to use multiple instances without eating up too many chips. At first I thought there was a problem, because the tone disappeared completely, but as soon as I adjusted the filter frequency, back came the tone.
Their original H910 Harmonizer was the first commercially successful pitch—shifter, and one of the first digital effects units to reach the market. I often apply these processes to reverb feeds using separate plug—ins, so their inclusion here is very welcome. There is a separate plug-in, the H3000 Band Delays, featuring 8 separate voices and playable like an instrument. The Harmonizer line series rack mount processors continue to be highly sought after, and the H9 Stomp box is one of the coolest guitar pedals ever. After finally getting myself out of the depths of time-altering reverb, I played around with a bunch of the other presets. I was also able to quickly get a very nice bass guitar sound just using E-Channel.
Aside from that, there are over 2,900 presets included; many created by such notables as Dave Pensado, George Massenburg, Tony Visconti, Vernon Reid and more. The UltraChannel is my favorite all-in-one ultimate channel strip plug-in. Route the output of the band-pass filter to an envelope generator and take the 'ducker' output into the control input of the Ampmods, and by adjusting the envelope generator's attack and release times, the snare sound is ducked out of the overhead channels. The result is a suite of processors and effects that brings together 'retro' and contemporary sounds not only within one bundle, but also in some cases within individual plug-ins. It takes a bit of getting used to, but I found a trip through the presets gave me a very useful tutorial on what is achievable and then you are really only limited by your imagination and time in achieving some really wild delay-related effects. The H949 Harmonizer is an updated version featuring de-glitched pitch change that uses an algorithm to splice intelligently and smoothly. These track with any modulation programmed in.
There are a lot of companies who make similar emulations, but these are the originals from the original manufacturer. Again, there isn't really anything to compare this with, but the deep notches make it an excellent tool for solving problems or should that be 'opportunities'? To make a long list short, the bundle includes very unique equalizers and filters, the Omnipressor compressor, two H3000 modelers complete with useable patchbay , Instant Phaser and Instant Flanger, several different harmonizers and pitch shifters, and even the reverb algorithms of the H8000. In Conclusion The from is an incredibly expansive collection of everything that made what it is today. The early reflections generator is said to be improved, for example, while all the component elements of the plug—in can now be activated or deactivated individually, and you can route external signals to the compressor side—chain. The left-hand side shows the eight delays, each colour-coded with an 'X'. I would have to say that Ultrapitch and Octavox are very similar, but if pushed to point out a difference I would say that Octavox produces a smoother sound and Ultrapitch a richer sound. You can also change the order of the signal flow.
What I like about both these plug-ins is that they display the time adjustment not only in time and samples, but also in distance Imperial and metric! It has a Gate and two compressors, including the OmniPressor, all with external side chains. Anthology X is a true must-have for any size studio. One instance takes 17 percent of an Accel chip, but I actually managed to get six instances onto one chip. In practice, however, both the Octavox and Quadravox plug-ins took up a complete chip per instance on my Accel system, so there was no gain. The former, in particular, is almost like the effects equivalent of a modular synth, and a full exploration of its powers would require quite an investment of time. I would value a make-up gain control on the Omnipressor plug-in, but I appreciate that would step away from the faithful model of the original hardware unit.
Unlike the version from the Clockworks Legacy bundle, the Omnipressor on Ultra-Channel has a make-up gain control as well. At under £60 per plug-in it is hard to say no! I think this may be the first time that I found a plug-in bundle to beat out the physical processor that it models, not only in versatility, but also in sound quality. It is difficult to compare Factory with any other plug-in from any other manufacturer, as to me it seems pretty well unique. The reverb section includes the usual controls such as decay, pre-delay, size and so on, but there is also a Lo-fi control to enable you to wreck your lovely clean sound, decreasing the bit depth as you increase the percentage. Anthology X is a really substantial collection of plug—ins, then, most of which are new to the native world. However, the quickest way to understand how these can be used is to run through the presets and see how the effects have been created.
Aside from the plug-ins in this expansive collection, it bears to mention that has a great forum as well as YouTube channel, allowing you to dive even deeper into the capabilities of all the tools at your disposal. I had not used this before, and very quickly found it indispensible. The nice thing for me is that, since many of the effects that I use on the are available in the plug-ins, it saves me a lot of time having to set something up. Whatever your approach to music and mixing, this is a suite that offers limitless possibilities. I was particularly impressed with the section of 'post' friendly presets in the list. There is also a very high Q setting, so it really enables you to filter out any troublesome tone-type problems with minimal impact on the wanted audio. My acoustic guitars, hi- hats, cymbals, and background vocals will never sound the same.
In Program mode, the bottom section sports a patch panel just like those early synths, so you can configure the modules in the desired order. There are 23 separate plug-ins with 2,900 presets. The possibilities are endless, so I'll just offer one example of the sort of thing that Factory can do: to remove the snare drum spill from the overhead mics on a drum kit rig. Ultra Channel does pretty much everything you could possibly want a channel strip to do, and more. So far I may have saved a couple hundred presets for the Instant Flanger and Phaser.