Eventide Audio

easy question.

We actually had a studio, but I was working at Eventide at the time, which was one of the many lucky strokes that's happened to me.

First, I worked at a medical firm, but I was always a musician.

I was in a band like everybody else.

Then I saw an ad for an engineer at Eventide, and though I wasn't an engineer, I had tinkered a bit.

So I applied and I got the job at Eventide.

And towards the end of the fourth or fifth year, I started a recording studio, like everybody.

And I actually started making some money, enough money that I could leave Eventide.

And then when David directed The Late of Heaven, the 1981 production, he brought me in to do the audio special effects, which was great.

And the cutting room was right across the street from Eventide, so I could dash across the street and, like, process some sound.

Really?

Yeah, yeah.

It was 54th Street, right upstairs from Studio 54, which was right across from Eventide.

Wow.

Small world.

It's very powerful and it probably does everything I could need for the foreseeable future.

It's an Eventide H9000.

Great choice.

I find it pretty ugly in comparison to the older Eventide units that are more iconic.

It's a computer in disguise.

Either it is a computer and has a color screen and all the menus, then why is it a 19-inch rack mount thing? Or it's an effect unit, then it doesn't need to have a fancy display.

Okay, perfect.

And

I was in that place where you're wide open, looking for something to do in your life.

I was 19, and, uh, I had some friends that were cutting a demo at, uh, Eventide Clockworks, which at that point was cutting edge.

I mean, digital stuff in 1972, that's, that's pretty wild.

That's insan- Yeah, and it was Eventide, right?

Mm-hmm.

Yeah.