EC8OR’s second album World Beaters (1998): “Produced on Amiga 500, Yamaha A-3000, Eventide H3000, Yamaha SU-10, 200 MMX.”

Mark uses a number of outboard effects as well, including a number of classic effects like the Universal Audio LA-2A, 1178, Eventide H3000, Urie Limiters, and Lexicon reverbs.

Silver Disco utilizes the Eventide H3000 Ultra Harmonizer Effects Processor primarily for space delays and echoes, which feature prominently in several of his tracks. According to a Facebook post by Josh Hubi, Silver Disco recently upgraded from the base model to the H3500 DFX to access the "Crystal Echos" algorithm.

You can see this in his setup throughout the video

"In the end the studio consisted of a 48-channel Pro Tools HD system running on a G4 with one Prism AD8 converter, a Yamaha 02R96 desk, which we soon got rid of, plus things like an Apogee PSX 100, Lexicon 960, Eventide H3000 and other outboard equipment. There was another G4 for Logic Audio with an RME interface to connect digitally to Pro Tools. We transferred everything we'd done on my Digi 001 to Rob's HD system and, in the end, also everything that we did in Logic.

"The monitors are Yamaha NS 1000s - they've got a big, beautiful sound. Then there's the 16-track Fostex, the Atari C-Lab, the patch panel... Here's a fantastic Eventide H3000 harmonizer. This is a thing I made called a VEWA - a vocal effects waveform animator. It adds vocal-like formants to a signal. It's sort of like a random vocoder. I used it quite a bit on Hybrid. This here is a Lexicon LXP1 digital reverb, which has an incredible quality to it. The Yamaha TX802 is the synthesizer I use. This Bel digital delay line I use live a lot. It produces 13-second loops in sync with MIDI, so it's like having a rhythm guitarist who can play for 13 seconds - that's very important for my live work. Here's the Yamaha SPX90 and Roland reverb I use sometimes."

Being used here to add Reverb to the claps

The Eventide H3000 Ultra Harmonizer can be seen in this photo.

In a video by Eventide Audio titled "Susan Rogers Engineer for Prince," at the 1:52 mark, Susan Rogers discusses her use of the Eventide H3000 Ultra Harmonizer Effects Processor while working with Prince from 1983 to 1988.

List of effects at Paul Robb's studio:

Aphex Type C2 Exciter. BBE 462 Sonic Maximiser enhancer. Drawmer DL241 dual compressor. "I generally strap this across the stereo buss. At some point I'd like to get a better compressor, though." Boss SE50. Boss SE70. "I primarily use these for distortion." Digitech VFX Valve FX. "This is an awesome distortion box. It's so bright it will rip your head off." Ensoniq DP/2. "I also use this primarily for distortion. All four of my distortion boxes [Digitech Valve FX, Roland SE50 and SE70, Ensoniq DP2] are absolutely critical to me. They're indispensable. I rarely use synthesizers anymore without running them through a guitar box." Eventide H3000 multi‑effects. FMR Audio RNC1773 Really Nice Compressor (x3). "These are my new favourite boxes. They make them in Texas, and they're incredibly cheap — 179 dollars, I think it was. But they're great, and on a par with the Drawmer compressor." Focusrite Red 2 Dual EQ. "It's mostly just gorgeous looking! Everyone who comes in here notices it. It looks like a piece of candy, you just want to bite on it. The thing is, it's so intimidating to look at, you really can't tell if it's any good or not — it doesn't need to be any good! I like it, though it's not quite good enough to strap across the whole mix: the EQ3D is on a par, even though it's half the price." Focusrite Red 7 Voice Channel. "This has a mic pre, a compressor, an enhancer and a de‑esser in it, which we use for recording vocals." Lexicon MPX1 multi‑effects. Lexicon PCM70 multi‑effects. Nightpro EQ3D filter. Peavey Analog Filter. "I actually very rarely use this. I've run some loops through it to make them sound crunchy and lo‑fi and it works OK. These techno people use outboard filters all the time — it's just that this one isn't a particularly good one, and I can't justify spending a grand on something like the Waldorf DPole or the Mutator." Roland SDE1000. "I just use this for simple delays." Roland SRV2000 reverb. SPL Vitalizer. "I think this is a lot more popular in Britain than it is here. I like it, but it has so much background hiss that I can only use it in loud noisy music. The great thing about it is the way it spreads the stereo fields, it's got some kind of phase." TC Electronic M2000 multi‑effects. Yamaha SPX90 multi‑effects. "This was the first effects box I ever bought and it's totally on its last legs. I keep it for its stereo split program, because it sounds so grainy and nice."

Listed among Jones' gear as one of two "Eventide M-3000" units in the May 1991 Musician interview "Fishbone Swims Upstream To Spawn Its Punk-Funk Hybrid" by Roy Trakin.

KENDALL REY JONES' "Rack o' Doom" includes two MESA Boogie 2x12 cabinets with EV speakers, a Furman Power Conditioner and Light Module, a Samson Broadcast STD Series channel switcher with 10-channel capacity, a dbx 160X compressor limiter, a 32-band IEQ-ART MIDI-programmable EQ, a t.c. electronics 2290 digital delay and effects controller, two Eventide M-3000s, including the SE with the "real cool crazy psycho-effects." His axes include a '57 Strat reissue he's gutted and rebuit with Seymour Duncan live wire pickups and a Floyd Rose tremolo. He uses a Switch 2 L for all the amp and MIDI switching and running two MESA/Boogie Mark IVs in stereo. His other guitar is a Tom Anderson Pro-Am custom-built in Sylmar, California, with Stay-in-Tune strings. He also uses a Jim Dunlop Cry Baby wah-wah pedal and "various secret stomp boxes I can't tell you about."

Pascal F.E.O.S. used an Eventide H3000 Ultra Harmonizer Effects Processor in his setup, as confirmed in an interview with BEAT magazine.