![]() It helps to think of this as increasing pitch by decreasing delay and decreasing pitch by increasing delay. ![]() If you continuously read from memory slower than you write to it, the delay will grow until you’ve completely filled up the memory. If you increase pitch by continuously reading from memory faster than you write to it, you’ll run out of data. The challenge for a real-time pitch changer that does not change tempo is rather obvious. Of course, as with tape, the audio plays back at a faster or slower rate. ![]() This is the equivalent of recording to tape at one speed and playing back at another speed. Random Access Memory ICs became commercially available and pitch change was made possible by reading the audio from memory (playing back) at a different rate than writing (recording). The Challenge: Pitch Change Without Speed Changeīy 1975, IC technology had sufficiently advanced to the point that it became practical to design a digital pitch change effects box - the H910. ![]() However, the interface was not designed to easily dial in pitch-related effects, and there was a technical challenge to overcome. ![]() Eventide’s DDL1745M had an optional pitch change module and a handful of studios began to discover digital effects. Prior to its introduction, studios had adopted digital delay as a utilitarian tool to replace the bother of using an expensive tape machine (and salaried tape op) for double tracking and plate reverb pre-delay. The H910 was arguably the first pro audio digital effects product. ![]()
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