Plug-in Bundle For Pro Tools TDM Systems
Eventide's range of high-quality Pro Tools plug-ins continues to grow, and the new Anthology II bundle collects together no fewer than 15 separate effects and processors.
Remember me Not recommended on shared computers. Forgot your password? Eventide Anthology Ii Bundle Torrent Average ratng: 3,7/5 3594 votes Anthology X is a collection of 17 plug-ins that includes enhanced versions of plug-ins that were originally available as part of the Pro Tools HD/TDM bundle, Anthology II. 51 pageviews per Session, and Bounce Rate - 83. The Anthology II bundle contains all the plug-ins you need for your next Pro Tools TDM project. Plugins Included: H910. H910 is the recreation of the very first Harmonizer effects processor, and was adopted by undustry luminaries like Tony Visconti who used it to create the unique snare sound on Bowie's Young Americans, Low, and Lodger.
Since they launched the Clockworks Legacy bundle three years ago, Eventide have been adding to their range of TDM plug-ins, and the new Anthology II package combines that original suite of effects with the more recent Anthology and several even newer products. The result is a suite of processors and effects that brings together 'retro' and contemporary sounds not only within one bundle, but also in some cases within individual plug-ins.
Clockworks Legacy Bundle
This bundle consists of precise software models of the Eventide hardware favourites from the 1970s — the Instant Phaser, Instant Flanger, Omnipressor, H910 and H949 Harmonizers. Eventide have resisted the temptation to 'update' them, other than to add some MIDI control and automation of course, preferring to reproduce them warts and all as software plug-ins. SOS reviewed this bundle back in September 2003 (www.soundonsound.com/sos/ sep03/articles/clockworks.htm) so I am going to skip past these processors other than to reaffirm that Instant Flanger is still one of the best flanging effects around. I have always felt that most flanging processors don't quite match the original tape-machine-created effect, but Instant Flanger does it for me.
Wii n64 wads download. The only other things I want to mention are to bring up to date some of the findings of the 2003 review. On the reviewer's Mix system, the Harmonizer plug-ins took a whole chip for one mono instance, but I can report that on my HD2 Accel system, H910 took 25 percent of one of my HD Accel chips and H949 took 50 percent of a chip. I too agree that for sci-fi effects these plug-ins are the business, and I wouldn't be at all surprised if Paul McFadden, who is part of the audio post-production team for the current Doctor Who series, has them in his 'toolbox'.
Finally, I can't leave this section without commenting on the Omnipressor emulation. I too took a little time to get to grips with the Attenuation and Gain Limit controls and what the meter in Gain mode was telling me, but having seen the logic behind it, I am very taken with being able to limit the amount of gain or attenuation a compressor puts into a signal path; this makes it possible to have a quite high ratio setting whilst making sure the compressor can only apply so much gain or attenuation. I would value a make-up gain control on the Omnipressor plug-in, but I appreciate that would step away from the faithful model of the original hardware unit.
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Anthology Bundle
Eventide later added four more plug-ins to the Clockworks Legacy bundle to make the Anthology bundle. These, again, originated in Eventide's hardware processors, but they are much more contemporary in origin. Two of the new plug-ins, Band Delays and Factory, were derived from the H3000-series Harmonizers, and the other two, Reverb and Octavox, are lifted from their flagship Orville hardware unit.
Band Delays (right) and Factory share a similar graphical user interface, which is divided into three sections. At the top there is a virtual H3000 front panel, while the middle is taken up by a Preset Parameter section offering controls such as wet/dry mix, input and output levels, filter settings and tempo-related controls. Facebook profile viewer app iphone. The bottom section can be set to display in three different modes: Program is the simplest and the most graphical, Expert lists all the settings in a table format, and Function gives you access to things like soft-key settings, and a Function Generator for controlling sweep effects and so on.
Band Delays comprises eight tempo-based multitap delays, each with a programmable filter, feeding back into a stereo mixer. The filters can be set to low-pass, band-pass or high-pass, and can be 'played' using MIDI. The Program section of this plug-in really uses the concept of a graphical interface to the utmost. The left-hand side shows the eight delays, each colour-coded with an 'X'. The right-hand side shows what is happening in a 3D chart, with the X axis showing frequency, the Y axis showing filter gain and the Z axis showing delay length. These track with any modulation programmed in. Try running through some of the presets and watch the graphs bounce around. It is definitely a case of a picture painting a thousand words!
What is it like to use? Well, the enhancements Eventide have added to the plug-in version, together with the ability to sync it up to the song tempo, mean that if you want complex multiple delays then Band Delays can deliver with the correct programming. It takes a bit of getting used to, but I found a trip through the presets gave me a very useful tutorial on what is achievable and then you are really only limited by your imagination and time in achieving some really wild delay-related effects. For example, Band Delays makes it very easy to set a stereo slap echo: try using four delays alternatively panned left and right, spaced a quaver apart and setting low-pass filters to roll off the high frequencies with each successive repeat. I was impressed, although I actually found it easier to set this same effect up on the Waves Stereo Supertap plug-in; while it doesn't have the dancing filter effects, the display is much clearer, and it gives you access to all the controls, rather than having to select the delay and then adjust a common set of controls.
Factory (right) is a modular processor offering two of each of the following modules: delays, filters, virtual VCAs called Ampmods, Scale modules that can be used for either audio or control signals, LFO modules and envelope generators, plus four two-input/one-output mixer modules. In Program mode, the bottom section sports a patch panel just like those early synths, so you can configure the modules in the desired order. However, the quickest way to understand how these can be used is to run through the presets and see how the effects have been created. I was particularly impressed with the section of 'post' friendly presets in the list.
It is difficult to compare Factory with any other plug-in from any other manufacturer, as to me it seems pretty well unique. The possibilities are endless, so I'll just offer one example of the sort of thing that Factory can do: to remove the snare drum spill from the overhead mics on a drum kit rig. You know the scenario — you spend ages getting the snare sound just right, maybe with a gated reverb sound, and then you open up the overhead mics and it all changes. San andreas for pc download. So what if you could duck out the snare from the overhead channels? Well, with Factory you can. Route the overhead mics through the two Ampmod modules and feed the key input from the snare mic through a band-pass filter set to only pass the snare sound and reject the toms, cymbals and so on. Route the output of the band-pass filter to an envelope generator and take the 'ducker' output into the control input of the Ampmods, and by adjusting the envelope generator's attack and release times, the snare sound is ducked out of the overhead channels.
I found that the control surface implementation was very impressive and soon was adjusting paramenters direct from my Command 8.
Reverberation
Reverb is not a particularly imaginative name for a reverb plug-in, especially when you realise that it is a whole load more than just a reverb unit. It includes no fewer than four EQ modules (pre EQ, reverb EQ, delay EQ and post EQ), plus a compressor that can be positioned either before or after the reverb. The reverb section includes the usual controls such as decay, pre-delay, size and so on, but there is also a Lo-fi control to enable you to wreck your lovely clean sound, decreasing the bit depth as you increase the percentage. To cap it off there are two delay lines, one in each output, with up to one second of delay. All of this makes for a very powerful reverb.
I had heard that the basic reverb algorithms weren't anything special, but for me they compared remarkably well with Waves Renaissance and Sony reverbs, although it would be fair to say that if I wanted a 'quality reverb' alone I wouldn't go straight for Eventide's Reverb. Having said that, I tried replacing a Waves Renaissance Reverb on a strings subgroup with the 'Strings Chamber' preset on the Eventide plug-in, and very quickly I had a much lusher sound, so there is definitely some mileage to be had in this reverb plug-in. Add the other features like the EQ options, compressor and delays, all in one plug-in, and Reverb is a very useful tool that stands out from other reverb options.
Octavox is an eight-voice harmoniser with a mono input and mono or stereo output. Each voice has up to 2.4 seconds of delay, pan, volume, feedback and two octaves of pitch-shifting. You can use a combination of preset intervals and pitch cents to produce the desired amount of pitch-shifting. The graphical display on this plug-in is similar to the H3000 emuations but is presented in a more musical way, with a stave which displays both the pitch intervals and the delay loop points. Again, a good range of factory presets give you a good starting point to get the creative juices going. I tried using this on a track where I had originally used Waves Ultrapitch to thicken out a low-level vocal loop, which I had actually created from the original guide vocal and liked it so much it stayed in the final mix. I would have to say that Ultrapitch and Octavox are very similar, but if pushed to point out a difference I would say that Octavox produces a smoother sound and Ultrapitch a richer sound. If you don't have Ultrapitch then you will find this an excellent tool for thickening out vocals, especially backing vocals.
Alternatives
Waves' Gold bundle includes direct alternatives to almost all of the processors and effects in the Anthology II bundle, plus a number of other plug-ins, but the TDM version is rather more expensive than Anthology II. However, there's no obvious equivalent to the Factory plug-in in the Waves range, and perhaps the only real alternative is DUY's rather more complex modular effects plug-in, DSpider.
Anthology II
So to the new plug-ins that Eventide have added to the Anthology bundle to turn it into the Anthology II bundle. The EQ45 parametric equaliser is a recreation of their vintage analogue EQ unit, including 12dB-per-octave high and low cut filters as well as four bands of fully parametric EQ. I have got so used to graphical representations of filter curves and the like, especially on EQ plug-ins, that I felt a little blind presented with just a set of knobs. It is interesting how soon we adjust to new user interfaces! On a control surface or an analogue desk, just having knobs isn't a problem, but when working in Pro Tools I have got so used to having a graphical display to see what the EQ is doing that not having it would be, for me, a good enough reason to go and select a different EQ that did. Perhaps Eventide could consider adding a graphical section to the user interface whilst retaining the model of the original analogue EQ?
The EQ65 filter set is a recreation of an analogue filter set, with 18dB-per-octave high and low cut filters and two tunable notch filters with a depth of up to 150dB! There is also a very high Q setting, so it really enables you to filter out any troublesome tone-type problems with minimal impact on the wanted audio. To put this to the test I set up a Signal Generator to output a 1kHz sine wave tone, and then inserted an EQ65 after it. At first I thought there was a problem, because the tone disappeared completely, but as soon as I adjusted the filter frequency, back came the tone. So I went back to the signal generator and I adjusted the frequency of the tone to see when it would reappear and the 3dB points were at 1035 and 965 Hz — that's a very narrow notch! Again, there isn't really anything to compare this with, but the deep notches make it an excellent tool for solving problems (or should that be 'opportunities'?).
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You don't normally associate channel strips with Eventide, but when you look at the range of plug-ins they now offer, it is a sensible and logical move to combine them in this way. Anthology II includes two, Ultra-Channel and E-Channel. The former includes a gate, de-esser, compressor/limiter with side-chain, a separate Omnipressor, a five-band parametric EQ section, stereo delays, and a Harmonizer micro-pitch-shifter for thickening. All the modules except for the last two can be reordered by dragging and dropping to your preferred sequence. However, Ultra-Channel is a chip-hungry plug-in — one instance takes a complete Accel chip — and the point of E-Channel is to enable you to have multiple instances without eating up too many chips. This channel strip still includes a gate, compressor limiter, and a five-band parametric EQ section. One instance takes 17 percent of an Accel chip, but I actually managed to get six instances onto one chip.
I tried both channel strips on a number of Sessions and found them both very useful. I especially liked Ultra-Channel on solo vocals, particularly with a dash of Harmonizer thickening. I was also able to quickly get a very nice bass guitar sound just using E-Channel. Unlike the version from the Clockworks Legacy bundle, the Omnipressor on Ultra-Channel has a make-up gain control as well. However, I have several other observations on the channel-strip plug-ins. Firstly, the de-esser on Ultra-Channel didn't do it for me: I couldn't get the vocal free of sibilance without messing up the sound, so I found myself reaching for my preferred de-esser again. Second, although Ultra-Channel is available as a stereo plug-in, E-Channel doesn't come up as stereo plug-in on a stereo track — you have to use it in multi-mono mode. Finally, I found the limits on the range of the EQ sections a pain; for example, the HF shelving only comes down to 5kHz.
Eventide have included the Quadravox plug-in as a cut-down version of Octavox from the original Anthology bundle; like E-Channel, it's designed to enable you to use multiple instances without eating up too many chips. This is a fine idea in principle, as most of the time a four-voice harmoniser is all that is required, and there's no point in wasting DSP resources on unused features. In practice, however, both the Octavox and Quadravox plug-ins took up a complete chip per instance on my Accel system, so there was no gain. As to the sound of this, it is no different to Octavox, so all my comments about Octavox apply to Quadravox.
The final plug-in in the Anthology II bundle is called Precision Time Align, and as the name suggests, it's intended to offer sample-accurate positive and negative time alignment of individual tracks. Actually there are two versions of this plug-in: Precision Time Align, which will only fully function if you have enabled delay compensation in Pro Tools (if you want to use negative time delay, delay compensation must be enabled), plus a second version called Precision Time Delay for those who don't use delay compensation. What I like about both these plug-ins is that they display the time adjustment not only in time and samples, but also in distance (Imperial and metric!), so if you know that two mics were nine inches apart, you can adjust the plug-in until the distance display reads nine inches.
Conclusions
Eventide have put together a very interesting bundle in Anthology II. For me, it certainly contains some surprises, including the channel strips, Factory, Reverb and EQ65. It is also excellent value for money: 15 plug-ins for £840 means each plug-in comes in at £56, and there is an excellent range of upgrade options for those who already own some Eventide plug-ins. Is it worth it? I would say that if you don't own one of the larger Waves bundles, Anthology II is a compelling alternative, and even if you do have a good number of Waves plug-ins, there are enough different plug-ins in this bundle to make it worth considering. At under £60 per plug-in it is hard to say no!
Pros
- There are so many different types of plug-ins in the one package, from EQs and compressors to delays and Harmonizers.
- Combines 'retro' with contemporary plug-ins in one bundle.
- Excellent value for money at under £60 per plug-in.
- Ultra Channel, Factory, Reverb and EQ65 are all stand-out plug-ins.
- There is an excellent range of upgrade paths.
Cons
- No surround versions.
- De-esser needs improving.
- Quadravox doesn't seem to be less DSP-intensive than Octavox.
Summary
Eventide's Anthology II is a comprehensive bundle of good-sounding plug-ins, combining modern and retro effects and processors.
information
£840.13 including VAT.
HHB Communications +44 (0)20 8962 5000.
+44 (0)20 8962 5050.
Plug–in Suite For Mac OS X & Windows - Signal Processors >Effects
Eventide’s H910 and H949 Harmonizer emulations have been rewritten from the ground up in Anthology X, and the new Dual versions are a real boon.
Anthology X makes many of Eventide’s signature effects available in native plug–in formats for the first time. Was it worth the wait?
It’s hard to think of a bigger name in the world of hardware effects than Eventide. Their original H910 Harmonizer was the first commercially successful pitch–shifter, and one of the first digital effects units to reach the market. It was the start of a lineage that would bring us the classic H3000 multi–effects — a staple of any self–respecting studio in the ’80s — and which includes current models like the Eclipse, H8000FW and H7600. Nor should we neglect analogue processors such as the Instant Phaser and Flanger, which many still consider the benchmark for those particular effects.
Like Clockwork
Eventide first ventured into the world of plug–ins some 12 years ago with their Clockworks Legacy bundle. Available only for Pro Tools TDM systems (remember them?), it comprised accurate emulations of five vintage Eventide processors: the original H910 and its slightly more sophisticated successor, the H949, the Instant Flanger and Phaser, and the Omnipressor compressor. The Clockworks Legacy package was reviewed on its launch in SOS September 2003, and you can read that review online at www.soundonsound.com/sos/sep03/articles/clockworks.htm.
A couple of years after the Clockworks Legacy bundle was launched, Eventide built on it to create the Anthology and Anthology II collections. Anthology II, which was reviewed in SOS July 2006 (www.soundonsound.com/sos/jul06/articles/anthology.htm), included no fewer than 15 separate plug–ins. To the original Clockworks Legacy suite it added two plug–ins derived from algorithms used in the H3000, called Band Delays and H3000 Factory, along with reverb and vocal harmony processors derived from the more recent Orville hardware unit, emulations of a pair of old Urei equalisers, two channel strip plug–ins, and a couple of neat utility processors for nudging audio forward or backward in very small time increments.
Like its predecessor, Anthology II was a TDM–only package. A few of its constituent plug–ins have been ported to native formats over the years, and Eventide have also developed a couple of newer reverb plug–ins that are native–only, but it’s only now, with the launch of the new Anthology X, that the complete Eventide plug–in range is offered for native platforms.
X Marks The Spot
Authorised using the iLok system and available in AAX, VST and Audio Units formats for Windows and Mac OS X, Anthology X is basically a complete native port of the Anthology II collection. In fact, nearly all of the plug–ins are faithful recreations of the TDM originals, so I’ll refer readers to the two previous reviews mentioned above for detailed descriptions and comment.
In case you’re wondering whether those older plug–ins might seem outdated a decade after their launch, though, let me reassure you that that is very much not so. The two vintage Harmonizers still drip with glitchy, lo–fi digital character, Omnipressor remains perhaps the most vicious compressor ever made (if you can negotiate its idiosyncratic input and output gain arrangements), and a particular highlight for me is having access to Instant Flanger again. Even after all these years, it’s still by far my favourite plug–in implementation of this classic effect.
The reason why the Anthology X plug–in count totals 17 to Anthology II’s 15 is down to the inclusion of two new variants on the H910 and H949 plug–ins. Both the original hardware and the TDM versions of these were strictly mono, but many of the most well–known applications for them required the use of two units, hard–panned to create stereo effects. So with the native port, Eventide have not only completely rewritten both plug–ins, but have added extra features to create new ones called H910 Dual and H949 Dual.
As well as making the delay times continuously variable, these allow channel parameters to be linked in various different ways, and introduce a ‘cross feedback’ path allowing the left channel’s output to be returned to the right channel’s input and vice versa. This is a really effective idea which breathes new life into these old workhorses, opening up new realms of weird and wonderful effectery. A comprehensive range of new presets runs the gamut from subtle widening and thickening to bizarre filtered delays and sci–fi noises. Some of these, such as the ‘Crystals’ bank in H949 Dual, explore ideas that were implemented in later Eventide hardware units such as the H3000, but with a grungy charm that’s all their own.
Band Delays On The Run
Though some might be disappointed that Eventide still haven’t made all of the algorithms from later Harmonizers available in plug–in format, I think that both H3000 Factory and Band Delays offer more than enough depth for most people. The former, in particular, is almost like the effects equivalent of a modular synth, and a full exploration of its powers would require quite an investment of time. Rejoice, then, that it comes with a comprehensive selection of over 500 presets, many of them highly usable out of the box or ideal as jumping–off points for further experimentation. Among these are more than 100 of the original H3000 hardware presets, some very familiar from hits of the ’80s and ’90s!
H3000 Factory is more like a modular synth than a conventional multi–effects. Thankfully, it comes with a huge selection of presets.Ultra Reverb is a powerful and versatile plug–in that includes nine of the reverb algorithms from Eventide’s current H8000 flagship processor. These are paired not only with the usual EQ and modulation stages, but more unusually, with a stereo delay line, compressor and ‘lo–fi’ option. I often apply these processes to reverb feeds using separate plug–ins, so their inclusion here is very welcome.
The reverb plug–in included in Anthology II was called simply Reverb; at first glance, Ultra Reverb appears to be the same, but closer examination reveals a lot of minor enhancements. The early reflections generator is said to be improved, for example, while all the component elements of the plug–in can now be activated or deactivated individually, and you can route external signals to the compressor side–chain. The algorithms themselves sound excellent, and cover most of the ground that you need for standard mixing purposes, including halls, rooms, ambiences and plates; for more characterful effects, you might want to investigate Eventide’s separate Black Hole and 2016 Stereo Room plug–ins, which don’t form part of this bundle. There’s stiff competition in the market for reverb plug–ins, but Ultra Reverb makes a nice alternative to the plethora of Lexicon–alikes that’s out there.Ultra Reverb is another plug–in that has been significantly enhanced in Anthology X.
Octavox and its CPU–light alternative Quadravox likewise feature numerous minor improvements over their Anthology II counterparts. Both are, again, derived from the H8000, and offer some lovely effects based on multiple pitch–shifted delay lines. Cat262b owners manual. Like the H3000 Factory, Octavox can do subtle stereo widening and so on, but its real USP is the way it lets you configure pitch and delay parameters using musical notation. This is the sort of plug–in where feeding in a couple of notes can produce an entirely new musical idea on which to build a track. There’s plenty of editing depth on offer if you need it, but equally, it’s possible to create some great sounds with a few clicks of the mouse.
Stripping The Channel
Most of the channel strip plug–ins I’ve encountered in recent years have been recreations of vintage analogue hardware, but for the most part, Eventide’s Ultra Channel is an unashamedly digital affair, and thus very well featured. Unusually, it includes effects as well as EQ and dynamics, in the shape of a Harmonizer– derived ‘micro pitch shift’ widener and a stereo delay. You also get two compressors — a conventional one and a cut–down Omnipressor — and a de–esser, along with the option to emulate transformer saturation. It’s a very powerful processor indeed, and once again, has benefited from some enhancements compared to the Anthology II version. Perhaps ironically, though, whereas Eventide’s vintage emulations haven’t dated at all, the UltraChannel interface seems a bit crowded and button–heavy by modern standards. Ultra Channel does pretty much everything you could possibly want a channel strip to do, and more.
The two Urei equalisers are slightly unexpected choices for software emulation. Neither the 545 parametric nor the 565 ‘filter set’ is up there with the Pultecs and Neves in the pantheon of sought–after vintage hardware, but in practice, I rather liked the EQ45. It’s more flexible than most old–school equalisers, yet has a pleasing smoothness and authority to its sound.EQ45 and EQ65 emulate a pair of vintage Urei equalisers. I was initially nonplussed by the idea of using a vintage hardware emulation for boring surgical EQ tasks such as notching out feedback or nasty resonances, but Eventide say that the 565’s circuit can produce narrower notches than most digital equalisers, and it certainly does the job in a very non–invasive way.
The Final Cut
Anthology X is a really substantial collection of plug–ins, then, most of which are new to the native world. It’s undeniably a premium product, and as you’d expect, that is reflected in a price which will put it beyond the reach of quite a few musicians. And while there’s very little criticism that could be levelled at any of the individual plug–ins, it might bother some people that the collection as a whole lacks a unifying functional or visual theme. It’s not a suite targeted at particular users or applications, and it cheerfully ignores the boundaries of categories like vintage and modern, creative and utility, effect and processor. So, not everyone will find every plug–in here equally useful — but you’ll never exhaust the capabilities of those you do use. Fortunately, a free 30–day trial is available, which should give most people time to explore some of the different avenues that Anthology X opens up before parting with their money. Whatever your approach to music and mixing, this is a suite that offers limitless possibilities.
Alternatives
There’s no individual plug–in collection I know of that covers all the same ground as Anthology X, and plug–ins such as H3000 Factory and Octavox are probably unique. If you’re looking for a suite of high–quality creative effects, the new SoundToys 5 bundle is definitely worth investigating, but doesn’t include utility processors such as reverb, EQ or channel strips. Alternatively, Waves offer plug–in collections to suit every taste and pocket.
High Precision
A highlight of the Anthology X bundle that would be easy to overlook is Eventide’s humble Precision Time Align plug–in. I had not used this before, and very quickly found it indispensible. When I’m given any project to mix that includes multi–miked instruments, especially drums, a first stage is always to check the phase and timing relationships between the different mics. Very often I’ll end up not only reversing the polarity of some tracks, but also shifting them backwards or forwards in time by a few samples with respect to one another. Where possible I like to do this with a delay plug–in, as it doesn’t risk fouling up any edits later in the session, but some DAWs don’t include a sample–based delay and others can only apply positive delay values. The beauty of Precision Time Align is, first, that you can set the delay time in samples, milliseconds or in terms of the time taken by sound to travel a specific distance — which is a great help when conceptualising how much delay to apply — and second, that you can apply negative delays, which is perfect when, for example, you want to time–align a room mic with a close mic. Not only that, but the delay time can be dialled in to within one hundredth of a sample! Very neat.
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Pros
- Makes nearly all of Eventide’s plug–ins available in native formats for the first time.
- New Dual versions of the Harmonizer plug–ins are brilliant.
- Fantastic selection of presets.
- Includes hidden gems such as Precision Time Align.
Cons
![Eventide Eventide](https://i.ebayimg.com/images/g/lRAAAOSw7fleq2h9/s-l300.jpg)
- You get a lot for your money, but it’s still not cheap.
- One or two of the plug–ins are showing their age.
- Most people won’t find a use for everything within such an eclectic collection.
Summary
Eventide’s plug–ins have been a long time coming to native platforms, but they still stand out. This might not be the most focused collection of effects and processors on the market, but it is definitely one of the most powerful and creative.
Eventide Anthology Ii Bundle Torrent 2
information
Eventide Anthology Ii Bundle Torrent 2017
$1195; upgrades available from other Eventide plug–ins.Source Distribution +44 (0)20 8962 5080
$1195; upgrades available from other Eventide plug–ins.