Eventide Audio

8 stories

Eventide AudioMakersSharing Presets Between H90, H9, and H9 Harmonizer® Gen 2 This guide will walk you through the steps required to export presets or preset lists from your H9 Harmonizer using H9 Control, as well as importing them into H9 Harmonizer Gen 2 or H90 using…

10.08

Eventide AudioMakersThe Best Delay Sounds in H9 Harmonizer® Gen 2: Leon Todd’s Favorite Presets Explore Leon Todd’s exclusive H9 Harmonizer® Gen 2 preset pack, featuring 15 handcrafted delay presets built for creative inspiration.

08.07

Eventide AudioMakersAdvanced Reverb Plug-in Features in Temperance Pro vs Temperance Lite Discover a new kind of reverb plug-in that responds to musical notes. Compare Temperance Lite vs Pro and explore advanced reverb tools for modern music production.

05.05

Eventide AudioMakersMusic Mouse Quick Start Guide: The Keys to Expression Music Mouse is an instrument that responds in real time to your cursor movements. Created by Laurie Spiegel in the 1980s, Music Mouse translates physical gestures into harmonically structured music.

04.03

Eventide AudioMakersExploring Granular Effects in the H90 and H9000 The latest firmware updates for the H90 and H9000 introduce four powerful granular algorithms that transform how you work with texture, space, and time: Cosmic Web, Glitch, GrainMod, and Stutter.

03.11

Eventide AudioMakersMIDI Control in Temperance Pro: Tips and Tricks for Four Popular DAWs One of Temperance Pro's most powerful features is MIDI mode, which transforms musical reverb into a dynamic, performance-ready tool.

01.16

Eventide AudioMakersA Most Musical Reverb: Part 3 – The Utilization – The Dev Use Cases Learn how the Eventide dev team uses Temperance in real production settings, from crafting ambient fields to solving tricky mix issues.

2025.11.11

Eventide AudioMakersA Most Musical Reverb: Part 2 – The Realization Forty years ago, Tony Agnello imagined a reverb that could shape the energy and decay of individual notes.

2025.11.05

Three pins, and nearly every signal in this business passes through them.

The magazine is named after the cable: the microphone in the booth, the line to the desk, the DMX run that fires the lights. Studio, stage and rig share the same cable. Most magazines pick one of the three. This one covers all of it, because the people we read do too — the engineer mixing a record on Tuesday is on front of house by Saturday.

Around a hundred and sixty sources, in English, Japanese, Spanish, German, French, Chinese and Italian: makers and their release notes, reviewers who put a hand on the thing, studios and touring crews, the producers and collectives surfacing this month and the scenes they came out of. Synths and modular, plugins and DAWs, guitars and drums, microphones, monitors, PA and lighting. What the trade is talking about is counted and plotted. The editor's letter has just started; it will find its rhythm.

For each story: a headline, a short excerpt, one picture and the link out. We never reprint the article, and the picture belongs to the maker or the photographer. A German review appears in German and a Japanese one in Japanese, as the writer published it; the link goes to the original.

Nothing is sold on this site. When a link leads to a shop, it is the maker's shop, not ours.