I believe the intent in this thread – and many other similar ones – is not to clone any device in an exacting sense. I know that I personally view this type of emulation challenge as sharpening my own Program design toolset. I have a lot of fun doing just that, using the vast amount of H90 components I have at my disposal. On the flip side, I can create sounds with it that I just can’t recreate with anything else.
And along the way, some other devices may get bumped off the ‘board because we can found a way to get close enough. If there were ever a consolidation device, the H90 design is it. I can say I’ve had mine over a year now, and I never run out of combinations to try, or a new way to look at what’s in there.
As I said, I was asking for a friend. For my applications, all of my other mod, delay, and harmonizing pedals have been moved off the board. I could not be happier with the flexibility and fantastic sounds the H90/9 give me.
I wanted to take time to respond to both of you more directly. First, I’m stoked that the H90 is filling so many of your effects needs. The H90 is the only effect on my board, sitting between my guitar and my amp – but I also admit I’m biased. Users like you falling in love with the H90 is why we do what we do. So thank you – without the passion of users like you, my work can feel like screaming into a void.
There are ways to capture deeper magic in the H90, and we’re always iterating internally on sounds that inspire us. Eventide’s motto is “The Next Step” because we’re almost always looking forward, not back. My intent is in alignment with the spirit of your responses. The purpose of my last post: almost everything mentioned in this thread is a red herring. I want to save everyone a bit of sanity. I see how I came across as more corporate, which wasn’t my intent… in reality, I wanted to tip my cap to a classic sound that I love as much as you do, while also showing a path towards getting closer to the sounds imagined in this thread. Because I hear and love them too, and I can help you get the processing in our box to create a new class of sounds we both love.
Speaking of: something else worth trying is Mod Delay from Time Factor. Set the modulation waveform to be the out-of-phase triangle waves, pick short delay times from 5-30 ms – but pick different delay times across the two channels. Start with Fibonacci numbers for delay times, but don’t feel obligated to stick to them (sometimes you want the combing that common multiple delays end up creating!). Set mod depth to 1, mod speed to taste (I usually go for 1 Hz or 5 Hz), filter to low cut/high pass but very gently (no more than 15), and explore the full range of feedback on both delays (including different feedback values for each delay) but keep it below 0.65. There’s a huge depth of chorusing sounds to be found in there.
