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To find your data in a memory chip, you must give it the “address” which defines its location with the digital state of a number of address lines. Enter memory manufacturer Mostek, who was selling half-memories at much less than half-price. (Even earlier, they were as much as a dollar per byte!) At least they were hard to manufacture and often hard to get. Memory prices at the time were prohibitive. From the very first shift-register delay line to almost the present day, memory chip prices defined the economical and sometimes even the possible.
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One of the biggest expenses in a number of our products was the audio digital-storage memory price. Hallelujah, an affordable front panel! What About Innards? $5 knobs, brand new and in their original compartmented boxes, were suddenly five cents. Edlie, my favorite Long Island surplus emporium, was the beneficiary of the demise of Hy-Gain, an old-line radio and antenna manufacturer that overestimated the staying power of the Breaker-19 syndrome. As the HM80 was being designed, CB was dying. But how could we support that kind of cost on a product with five knobs of solid aluminum, brushed metal inserts, and, as a lagniappe, a white dot for orientation? So you don’t have to peek ahead, the answer was Citizens Band Radio. We felt that it enhanced what is now called “look and feel” and, being on the front panel, it was worth it. One Eventide distinction-what we called “The Knob”-was featured on our rack-mount products, and it cost us about $5. Even our AC power cords were “special.”Įnticing was a pretty important priority, too. For example, the power transformer for our early delay lines was this wonderfully robust, reliable, and versatile military-surplus tar-potted brick bought for pennies on the dollar. By haunting the surplus stores in the New York City area, I was often able to obtain remarkable bargains in hardware and components for producing our equipment.
#Eventide h910 harmonizer schematic full
One reason each Instant Phaser sounded different from its conspecifics is that I could never find a reliable source of same-value capacitors without paying full distributor pricing. Clearly, at least one priority was twice as important as the others. If we were going to make an affordable digital-effects product that could be used on stage, it had to be cheap, rugged, less unwieldy than our other products, enticing, and cheap. But I digress.) Musicians were no more a prosperous lot in the ’70s than they are now. With pitch-change technology, I reasoned, we should be able to bring their high-frequency acoustic radar into the range of human hearing. Kron! Perugina! Manon! Lindt! (The other part of my thoughts had to do with listening to bats. But what about performing musicians? Should they be deprived of the manifold benefits of pitch change and delay? No!Īt least that’s what I was thinking (in part) when I galumphed forth from our modest office, then in New York City, on my Saturday morning tour of midtown-Manhattan’s chocolate vendors. The two-year-later model, the H949, was even more feature-laden and more expensive. The first of our Harmonizer special effects units, the model H910, sold many thousands for the now-equivalent price of nearly $10,000 each. They were vertically quantized in 1-3/4 inch units with mounting holes placed in precise relation to their control panels. They were rigorously 19-inches wide to fit in standard studio-equipment racks. Until the HM80, all of our products were of the “rack-mount” persuasion. And, almost by accident, we made a product for musicians! This is the story of that product. Using newfangled “integrated circuits,” now called “chips,” we made, inter alia, products for recording studios and broadcasters. Among these elements was Silicon, and it was Good.
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Our things were made of the chemical elements, of which there were somewhat fewer then. That imbues us with history, and most of our early history is things called “products.” Yes, in those days tech companies made “things” instead of apps or other persuasions of intangible computer code. The company at which I strive, Eventide Inc., has been extant for 50 years, almost to the day. Here’s the story excerpted from his blog: A Walk Down Half-Memory Lane 50th Anniversary! We asked Richard Factor to dig deep in his memory and tell us how the first digital audio device designed for live use came to be. At about half the price of an H910, HM80s found their way into the hands of a few gigging musicians and composers who, for the first time, could exploit the new world of digital audio effects live. To our delight and surprise, we found out the device also made its way into the hands of students and educators through universities who couldn’t afford the H910.