Guide Time, The Harmonizer of All Things

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While some people feel they are unnecessary, they are vital in a studio whether it is inside of your home or outside.

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They are inexpensive yet provide so much great sound that cannot be matched. If you are someone who is serious about their music and producing quality sounds, the addition of a harmonizer to your life could be a life-changing decision. One produced the effects while the other handled the designs. They invited a couple of others into the picture, and began producing high-quality equipment, including the Harmonizer. With the name Eventide on the pallet you can rest confidently knowing you are getting a name that more people trust.

They always go above and beyond to produce the equipment that can help musicians success.


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When you want to form a great impression of the equipment that you own, Eventide is the brand that will help you do it. A harmonizer is a device that samples incoming music while it offers different pitches and combine them together.

11 Best Vocal Harmonizer Pedals: Our Beginner & Hobbyist’s Guide - Reviewtiful

Those perfect harmonies come together thanks to this simple device, and it takes only seconds of time to put it all together. Anyone inside of the studio looking to make an incredible song should have a harmonizer in their studio. Owning the Harmonizer from Eventide offers a slew of benefits that are sure to be appreciated by all who use it. Made the huge sound of the Boston Common happen from the bottom up. Loos: Foundation of the unique BC sound. Barnick: Unique and recognizable bass timbre.

Obvious command of the voice part. Biffle: Simply the essential foundation in the most individual, biggest sounding, and most influential in the barbershop world quartet in history. Wright: Yes, all four of the Boston Common truly belong on our lists. Crawford Bagby: His prowess in helping the Mark IV into the medals is recognized by the panel despite the fact the.

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But Crawford returned and reclaimed his bass slot, while Rector went on to a Society Hall of Fame career. Could hit a B-flat two lower than middle C, with ease. Barnick: Terrific bass voice Beck: A true bass, skilled, marvelous quality sound. Rich, legitimate bass singer. Loos: Never got to hear him live, but some of the recordings seem pretty prodigious. Tom Felgen. Barnick: Great bass voice and marvelous quality.

Clarke: The prettiest bass according to my wife. Pure velvet Four Renegades sound. Maintains same vocal quality Chicago News throughout his considerable range. Beck: Natural, easy bass. Lots of skill, smarts, effortless singing. Mid-States Four was first champ to perform regularly with a variety of real and comic instruments.

Great range. Sang with an anvil among other instruments. Singleton, Felgen and Spangenberg would all have voted for Gracey—trust me. Mid States Four If you had a natural voiced tenor or a deep bass in your quartet—think the Mid-States and the Bills—well, you heard a lot from them. Beck: Artistic, unquestionable range, feel and passion And perhaps at the top of the list, Dr.

Jim may be the most influential quartet bass singer out there today. Connelly: Awesome range, fantastic vocal color,. Wherever with our panel?

Pitch shift

Fellow gold medalist Pete Tyree there was music, he managed to get in on it. He died young: just as solo work. Petersburg, Fla. At age one album and shared another with the Buffalo Bills. His memories of Singleton are tive voice can be heard as a backup for Johnny Cash. Son Steve says when you listen, was a huge part of the persona of one of the He was, of course, revered by his greatest quartets of all time. She was knew that—so everyone loved him.

And I mourned as well. A lot like Oxley minus the makeup. Loos: Massive range, extremely accurate, and artistic singer. Consistency of vocal placement through his range that keeps the constant ring, especially in his second quartet.

What exactly is a vocal harmonizer pedal and what does it do?

Stage personality that The Gas House Gang drives the visual performance, Crossroads just as his sound as a singer drives the quartet unit sound. Biffle: Has grown into a world-class bass singer. Big, rich, dependable sound, equally suitable to the bright, pingy Rich Knight sound and the full resonance of Mike Slamka.

Power, finesse and musicality. Barnick: Excellent bass voice and musician. Wright: Not just for gold medals in two great champion quartets. He is a true icon as a bass singer. Beautiful as a soloist, masterful just singing his part. Jeff has made a huge impact on our culture. Range, power, flexibility, color, resonance—he has it all. Barnick: Exemplary trained vocalist. Excellent command of the part. Loos: Jeff could write his Rapscallions own evaluation—and it Acoustix would be right.

Max Q C o n n e l l y : Aw e s o m e range, fantastic vocal color, stud soloist, top-shelf performer. Beck: Another very smart singer. Never mind the three gold medals—he can sing anything, anywhere. One of our top five singers of any part, for my money. But Gary has never rested on his laurels. His dedication to his craft and vocal quality over the decades is legend, perhaps exceeded only by the glow he exudes as a singer. Whether you experience him in. Biffle: The most consistent vocal sound from top to bottom I ever heard. No breaks, no register shifts—just pure, solid, resonant sound throughout the full range.

Connelly: Gospel according to clean singing; super consistent and great finishing work. Loos: Insanely accurate and a real technician on the vowel modification techniques espoused by Mac Huff. The resultant sound of the DC revolutionized the Society quartet world. More important, when it came to tags, Mo treated me like an important person before I knew a 7th from a Snickers. He helped teach me the joy of spreading the barbershopping sound by how he included people in woodshedding, gang singing and tags.

And to stand next to him and hear him land smack in the middle of target sounds was a craft lesson in itself. Wright: Mo was smooth and agile as a bass in two gold medal quartets. His style greatly influenced the transition towards more lyrical singing that took place in the s. He was also an influential arranger. Biffle: Mo once asked me if I knew why everyone wanted to sing with him. The smoothest, sweetest bass with whom I ever had the privilege to sing. Barnick: Smooth bass vocals.

Very listenable for a long time. Loos: Smart singer with the fluid sound that glued Gaynotes together vocal lines of any Mark IV of the quartets he sang with.


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    • Biffle: No part requires the consistency and solidarity of sound, accuracy on wide jumps, subtle tuning different requirements of roots and fifths, e. Staab consistently supplied these in spades. Plus balancing Kenny Ray [Hatton] was not for the vocally shy and retiring. Loos: Try and find him off pitch, with a missed vowel sound, or out of quality in any part of his two-plus Bluegrass Student Union octave range.

    Not the biggest bass. Wright: Rick was a model of accuracy, and while he is outdone by others in vocal color, we marvel to this day at his uncanny ability to hit a note spot on. Barnick: Wonderful, gutsy, brighter quality bass singer. Accurate as all get-out. In earlier issues, you saw the tenors, leads and baritones. The project brought into play our own history, introspection and feelings both objective and subjective.

    An easy trick for singing HARMONY!

    Along the way, we heard your well-deserved feedback.