Blackhole Reverb Download

Most reverbs are earth-bound and constrained by the physics of the real world. Our Blackhole reverb breaks the rules by allowing you to create virtual spaces that could never exist in reality (at least the one we inhabit). At large sizes, its soft attack and lingering, harmonic tails allow it to really shine on guitars, strings and pads. At small sizes, those very same qualities can add an angelic sheen to vocals or turn a simple drum track into an otherworldly rhythm section.

This famed, massive reverberator first saw the light of day as an algorithm in our rackmount DSP4000 and remained a favorite in the rackmount H8000FW. For decades studio engineers considered Blackhole their "secret weapon." More recently, it was ported to our Space stompbox and became the go-to ambient effect for guitar and keyboard layers. With each new version the reverb has been refined and enhanced.

I am a huge reverb nut. I might also have two Lexicon outboard reverbs ;-). But also wanted an iOS reverb and the Eventide Black Hole is big and lush how I like it (but have no expectations of it coming anywhere near the Lexi's!) ;-)

BlackHole aims to create huge spaces that defy reality. Sounds are reversed and mixed over each other and linger for days. It's more of an Effect Pedal that a basic clean reverb. But with the right settings it can service that need too.

@OscarSouth yeah I had heard Space went AUv3 - never used it but there was always love for it, long before AUv3 landed on iOS. Keen to hear how others feel auv3fx:Space compares to the likes of blackhole and audioreverb.

@McD said:

Every synth sound that comes thru my speakers starts by passing thru blackhole.

From there i decide if the reverb changes.

It has become my standard and initial test for reverb.

If you could throw colors thru reverb effects, i image the colors would be absolutely beautiful after they pass thru this blackhole

Surprised nobody mentions FAC Alteza. I personally find the Eventide UI ugly and uninspiring. Alteza gives me all the cavernous reverb I will ever need, and the presets are terrific. Plus it has multi-out.

I was wondering about this on the 2021 iOS app sales thread. I have FAC Alteza Chorus and Phazer amazing plugs ! I also have Virsyn Reverb and Impulsation for IRs. Can't imagine I would gain much more from Blackhole I am thinking maybe Toneboosters to round out my reverbs.Now if they port over the SP2016 well ....

@ExAsperis99 said:

Overall, Eventide Blackhole is a wonderful sounding reverb and a powerful sound design tool. It knows what it is: a high quality spatial processor ideal for HUGE spaces, and one of the few reverbs suited for live performance.

Based on their hardware stomp-box of the same name, Eventide's Blackhole native plug-in is described as a 'massive reverberator', and draws its inspiration from an algorithm first developed for their DSP4000 processor (the same algorithm was later included in the H8000). It runs on both Mac OS and Windows machines, with AU, AAX and VST plug-in formats supported. An iLok dongle is required, and a time-limited demo version is available so that you can try before you buy. Whereas most reverb effects are designed to emulate real spaces or plates, Blackhole is intended to create more abstract spatial effects for use in sound design or experimental music. If you're after a subtle plate to add to vocals or 'a bit of wet' for the drums, this is most definitely not the reverb to choose!

The reverb controls on offer mix the familiar with the weird. The Mix, Size, High and Low EQ and Pre-delay parameters all do what you expect, but the Gravity knob is not quite so commonplace. It turns out to be the Blackhole's equivalent of decay time, but it also switches the algorithm from a conventional reverb in one half of its travel to a reverse-envelope type in the other. At no time does the reverb time ever get short enough to be termed modest! Size, predictably enough, adjusts the subjective size of the synthesized environment, spacing out the reflections at higher settings and bunching them up at smaller settings. At the smallest size setting, the reverb sounds like the inside of a coffee tin!

Of course, there's more to the Blackhole than big reverbs with tempo-sync'ed pre-delay. The weirdness factor comes largely from the reverse reverbs and the modulation section, where Mod Depth and Mod Rate parameters affect the reverb tail in a more-or-less chorus-like manner. Used gently, this can emulate the modulation found in more 'normal' studio reverbs, but there's enough range to produce more obvious churning effects. There's also Resonance, which peaks up the resonance of the high and low filters, so even the EQ is not as conventional as it might first appear. A Kill button mutes the the dry input to the reverb section, so you can audition the way the reverb tail decays, while Freeze mutes the input and causes the current state of the reverb tail to be perpetuated until the next power cut. Then there's Feedback, which just loops the whole shooting match, to further magnify the sense of enormity!

The best way to find out what this plug-in is capable of is to check out some of the presets, as many of these produce results that you might not expect to get from a plug-in with so few controls. Predictably enough, there are cavernous reverbs and modulated effects, but you'll also find eerie quasi-reverse reverbs, odd resonant effects, and even extended and filtered reverbs that sound more than a little like synth pads. The Feedback control introduces repeating, delay-like effects related to the Pre-delay and Gravity settings. Other presets include more dramatically modulated pitch elements for that 'drunk in space' vibe.

Because the reverbs are mainly long and textural, they work best on sparse instrumentation, and should prove a boon to anyone working on New Age material or film sound effects. I'm sure Blackhole will get a lot of use on my next 'music to soak lentils by' instrumental album. A simple clean guitar can be transformed into a vast atmospheric soundscape, but by the same token you can also turn things a touch sinister by heaping on the resonance, feedback and modulation depth, if you feel that way inclined. In fact. I spent rather longer playing around with the sounds than I intended to, a sure sign that I'm having a good time. Overall, I loved the massive reverbs, and also found the morphing ribbon to be a useful and creative tool. I'd love to write more, but I'm just itching to go back and play with it some more!

I changed it a bit. I set the first pitch shifter to 100% and added another one last in the chain also at 100% but this one pitches it down to the original pitch again. Because tonally the pitch shifting (obviously...) creates some tonal rub. That can be nice, but this way, I'm compensating for it again. But it creates some more Schmutz in the delay / reverb chain.

I never tried that BlackHole reverb, so I have no idea what it sounds like, but here's my take on the one shared by @wonshu. I just changed it from 5th to octave up and down, changed some parameters and I'm using it as an aux effect. Just experimenting

You can also access the Freeze function using the right footswitch. The secondary function is Q, the resonance of the Lo/Hi filters. The Lo filter is a shelf type operating at 350 Hz and Hi is a shelf at 2000 Hz. The filters come at the end of the reverb chain, providing the ability to reign in unwanted muddiness or smooth out the tails for even more sound sculpting. It is also worth noting that turning up the Feedback control also significantly influences the Pre-Delay, which then becomes more of a regular delay, but with a longer attack for a pumping effect.

A Reverb is usually a reverb. They are there to emulate a space. This is where reverb has been in different forms to emulate space in different ways we can do it in a digital realm. Plate reverb, small reverb... terms you probably know by now. Impulse Response brought a new meaning to the idea what a reverb could be sounding like. Because impulse responses is a basic analysis of what the room is doing inside an audio file. This gets translated to what the reverb is doing and ya da ya da... I won't bore you with technical details in this article.

Reverb is usually limited by "space", and that is... basically its limitation. Just because it tries to emulate a specific type of space. Sometimes I want to create something else than a Cathedral space. And often I find myself playing around with filters, delays and other effects just to create a reverb that sounds different than traditional reverb should sound like. Because why does a reverb always have to resemble space? It can just be an effect for what it is worth. Hence we have all these different reverb plugins that emulate space in different ways.

Now, to be honest, this always a thing with these type of plugins. It is your thing, or it isn't. It is that simple. And the above pointers already made me wanting this reverb VST plugin for a really long time. Also, since I am about transparency, there might be a reason why you should not get it... If you expect a reverb that has more then just one algorithm to emulate a specific reverb type, then this plugin might just not be your thing. Since Blackhole is about 'creative' stuff. And not trying to emulate anything in real life (maybe the sound of space... hence blackhole... but who knows). 5376163bf9

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