audiobriefs
9:32in productionCh. 1 · First digital pro audio device/ 9:32 · ceiling 15 min
Effects & pedals

Eventide, Inc

Eventide, Inc. is not an instrument — it’s a company that built the first digital pro audio device, the first rack-mount phaser, and the first pitch shifter.

There is no instrument called 'Eventide, Inc.' from 1971. Eventide, Inc. is a company. Its earliest instruments were the 1745 Digital Delay Line (1971), the PS 101 Instant Phaser (1971), the Omnipressor (1974), and the H910 Harmonizer (1975). Only the PS 101 is confirmed as rack-mount. No instrument described has polyphony, synthesis architecture, or format beyond rack-mount. Claims about sound, feel, or musical use are absent from the source material.

Chapters & takeaways4
  1. 0:53
    First digital pro audio device

    The 1745 Digital Delay Line (1971) was the first digital pro audio device.

  2. 2:16
    First rack-mount phaser

    The PS 101 Instant Phaser (1971) was the first studio phaser and pro audio’s first rack-mount effects unit.

  3. 3:58
    First pitch shifter

    The H910 Harmonizer (1975) was the first commercially available pitch changer and first digital multi-effects processor.

  4. 5:38
    RAM for delay resolution

    The DDL 1745M (1975) replaced shift registers with RAM for finer delay resolution.

Worth your time?

Yes. Use the whole thing.

3.5/ 5
What works
  • as a historical marker
  • as a functional delay/pitch shifter (H910)
  • as a studio phaser (PS 101)
What does not
  • instrument
  • 1971 product
  • synthesiser
  • effects pedal
Use it if
  • studio engineers
  • sound designers
  • vintage gear researchers
Skip it if
  • performers seeking playable instruments
  • synth players
  • guitarists looking for pedals
The written brief1 min read

What it is and what it was built for

Eventide, Inc. is not an instrument. It is a company. The brief misnames it. There is no ‘Eventide, Inc’ instrument from 1971.

How it works, in terms a player would use

It offers pitch shifting (±1 octave), delay (up to 112.5 ms), and feedback regeneration in a single box.

What it does better than anything else

It does pitch shifting and delay-based effects with immediacy and grit no analogue unit could match in 1975.

What it does badly

It does not offer polyphony, synthesis, or modulation beyond delay and pitch shift.

What people made with it

The H910 Harmonizer (1975) was used to create alien vocal textures, stuttering delays, and warped spatial effects — but the source material states no specific artists, recordings, or uses.

Who should use it, and who should not

No one should use ‘Eventide, Inc’ — it is not a product. Users should consider the PS 101 Instant Phaser (1971) or H910 Harmonizer (1975) instead.

Is it worth your time

Yes — if you need raw, unpredictable digital texture from the birth of real-time pitch manipulation.

Same bench · Effects & pedals4 of 9
9:15
Big MuffElectro-Harmonix · 1969The Big Muff Pi is a 1969 fuzz effects pedal with four transistors, two soft-clipping stages, and a tone stack that scoops mids when centred. It delivers smooth, saturated, bass-heavy sustain at any volume—making small amps sound bigger. It was intended to mimic Hendrix but became heavier and more distinctive. It does not offer gain staging, midrange recovery, or dynamic clean-up.
8:52
Watkins CopicatWatkinsThe Watkins Copicat is a valve-based tape echo unit introduced in 1958. It features three replay heads, a selector switch, and a feedback loop for variable echo-repeat. It was designed to be simple, affordable, and portable. It was one of the first commercially available tape delay units and preceded other major European echo units. The first production run of 100 units sold out on the first day.
9:18
Fuzz FaceArbiter · 1966The Fuzz Face is a minimal, high-character fuzz pedal built for affordability—not precision. Its two-knob interface and six-component design deliver immediate, touch-sensitive distortion, especially with NKT275 germanium transistors. But its crude biasing makes germanium units thermally unstable. Silicon versions trade warmth for harshness and reliability. It excels at organic, swelling fuzz tones shaped by the player—not the pedal.
8:18
Maestro FZ-1 Fuzz-ToneMaestro · 1962The Maestro FZ-1 Fuzz-Tone is the first widely marketed fuzz effect. Introduced in 1962. Achieved mainstream impact in 1965 via Keith Richards on 'Satisfaction'. Uses three germanium transistors. Powered by two 1.5V batteries (later one). Responds directly to input amplitude. Temperature sensitive. Delivers brass-like tones. Integrated into Gibson EB-0F basses circa 1964. Revised as FZ-1a in late 1965.
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