Eventide H910 Harmonizer

The Eventide H910 Harmonizer was an early digital effects unit released in 1975 by Eventide Clock works. It featured a pitch shifter, feedback and delay functions. The possibilities this device brought were exploited in the work of many famous artists by the likes of AC/DC, David Bowie, Queen and Frank Zappa (to name a few).

Peter Gabriel and the Eventide H910
Peter Gabriel appears to have used the Eventide H910 Harmonizer as early around 1977. It is seen in this photo of Peter recording at home, as well as another from Peter's first solo tour, showing the external keyboard controller. The photos indicate it was presumably for processing keyboard sounds or pitch correction.

Besides, the H910 would become a signature part of Peter's vocal sound during the late 1970s/early 80s, often for an ADT (automated double-tracking effect) achieved via the short delay settings on the H910. Robert Fripp introduced that sound to him when producing Peter's second self-titled album (known as Scratch). The Harmonizer was often dialled slightly louder than the original vocal in the mix, resulting in a relatively dry and shallow vocal sound.

Eventually, Peter became rather attached to this vocal sound, and used it for much of the next album (known as Melt). Except with the occasional AMS DDL for stereo vocal sounds in a few places. As engineer Hugh Padgham recalls, Peter even felt his voice was 'naked' without the Harmonizer. On Security as well, co-producer/engineer David Lord always used the Harmonizer on Peter's voice during recording. But at Lord's encouragement, most of the Harmonizer was ditched in the final mixes. The Eventide remained in his studio racks at Ashcombe (and later Real World), although Peter later preferred other gear like the AMS for more subtle effects.

Larry Fast also used his own H910 Harmonizer, which he'd purchased while recording Synergy album Games (1979) for treatments on his synthesizers. He'd go on to use it on subsequent studio work and tours with Peter Gabriel. The detuning of the synths on "Biko", for example, was achieved with the Harmonizer.

Phil Collins and Eventide H910
The Harmonizer was a prominent part of Phil Collins' vocal sound as a solo artist in the early 1980s: producer/engineer Hugh Padgham used it for an ADT effect on Phil's vocals. It can be heard all over Face Value (1980) and Hello, I Must Be Going (1982), coupled with an Allen & Heath Mini Limiter for attack. Hugh later preferred using the AMS delay/harmonizer for Phil's voice, for slight detuning.

Apart from Phil's solo work, subtle harmonizer on his voice was already used by producer David Hentschel in the original mixes for ...And Then There Were Three...' and Duke with Genesis, plus live shows from this period.