Blackhole Reverb Free Download
Peter Rayshell
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:
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.
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:
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.
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!
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.
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).
As a plugin, Blackhole shares the same characteristics that made the OG algorithm a go-to effect for so many engineers and producers. Blackhole breaks the rules of nature and lets you twist and tweak your reverb into something entirely surreal.
Blackhole is not free (though it is on sale for $29, down from $199, at the time of writing). However, you can download a 30-day demo by providing an email address and an iLok username. There are also a solid handful of sound samples directly from Eventide to give you a taste of how this reverb sounds on a variety of sources.
Unlike other reverbs which may offer pre or post modulation, Blackhole features modulation built into the very reverb structure itself: this modulation can be used to smooth out the rough edges of the most extreme settings and offers unique tone-shaping ability.
Mod Depth: Sets the modulation depth in the reverb tail. This can be a subtle control, which nevertheless can reduce ringing in the reverb tail and add some motion to the sound. This parameter is frozen while Feedback is set to Infinite or Freeze.
Feedback: Controls the feedback around the entire reverberation structure, for even larger sounds. Turning clockwise to Infinite will allow for infinite reverberation time, while still letting incoming signal into the reverberation structure. Turning further clockwise to Freeze sets the reverberation time to infinite, and does not allow incoming signal into the reverberation structure.
DualVerb combines two different high quality studio reverbs (A and B) in parallel, with independent controls for decay, size, pre-delay, and tone. Use A/B Mix to mix between both for rich, dense stereo reverberation, or to smoothly transition between two entirely different reverb sounds.
A/B Mix: Determines the input level of the A and B reverbs. When Decay is Frozen, A/B Mix is post-reverb (normally it is pre-reverb). With stereo outputs, you may turn this parameter fully clockwise for dual mono reverbs (A on left, B on right). A mono input will be sent to each reverb, while a stereo input will send input 1 to reverb A, and input 2 to reverb B.
Decay: Sets the decay time for the reverb. When Tempo Sync is off, this ranges from 0 s to 50 s. When Tempo Sync is on, this is set in subdivisions of the tempo. Turning clockwise to Infinite will allow for infinite reverberation time, while still letting incoming signal into the reverberation structure. Turning further clockwise to Freeze sets the reverberation time to infinite, and does not allow incoming signal into the reverberation structure.
Sidechain: The mixer to the sidechain input (gain control signal). When set to minimum, the gain curve is derived from the input only. At maximum, it is a feedback dynamics unit with gain derived from the reverb output. In Omnipressor Mode, this simply lets you fade between a feedforward (FF) and feedback (FB) compressor/expander/gate/etc.
760c119bf3