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Jack Hertz

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App Reviews posted by Jack Hertz

  1. "Is it tomorrow, or just the end of time?" That line from Jimi Hendrix's epic "Purple Haze" should be the slogan for Eventide's Blackhole Reverb plug-in. Figuratively speaking, the Blackhole begins where most other reverbs end. Having used a lot of them. I am always jumping through hoops combining different EQs, delays, filters, and modulation with reverbs for the kind of animation that cuts through the busiest mixes. In Eventide's usually brilliant fashion. The Blackhole takes all of these tricks and rolls them into a single, smartly designed interface that is right at home performing all the extreme reverb duties sound designers crave.

    Infinite reverbs are just the beginning. With the inclusion of delay with feedback, positive and negative EQs, filter with resonance, and gravity. This effect opens doors to more than just reverb and early reflections. The Blackhole offers wonderful shaping controls that tap into all kinds of new spaces, environments, drones, ethereal pads, and sonic vortexes with just about anything it processes. From subtle spaces, to dense walls of frozen tones that play till the end of time, or just tomorrow. The Blackhole has you covered.

    Most will put this to work as an ambient factory. However, the Blackhole goes way beyond the familiar shimmering new age smorgasbord. Living up to its name, there is deep darkness waiting for you. With the help of on-board filtering and EQ, its possible to remove transients and other percussive elements from the source input. Making for thick lava-flows of undulating low tones that swell and fade without distortion or rumble. Conversely, there's plenty to explore on the high-end. Dialing up the resonance and cutting the lows brings out airy brightness that can be embellished with echoing delays for endless harmonic gymnastics.

    In keeping with their H9 format. All that sound shaping on hand, means a little automation goes a long way. Making the Blackhole not only fun to program. Eventide have added interactive options for controlling the Blackhole in real-time with the addition of ribbon-control, Min and Max switches and buttons for muting (KILL), morphing (HOTSWITCH) and holding (FREEZE). To take the Blackhole into even deeper dimensions of extreme reverb processing. Special markers allow the user to define parameter ranges that can be recalled. Making it easy to setup cosmic transitions that can be activated/deactivated on the fly, or transitioned manually by moving the ribbon control.

    Features are one thing, but complex algorithms are what truly decide a quality reverb effect. Eventide's decades of innovation really shine through here. The Blackhole's reflections are dense and lush, while retaining the original sound's character. Yet, it can be driven to output sound that bears no resemblance to the input source material. Something the Blackhole seems to be made to do, properly. Compared with most reverbs that decay into a nondescript roar. The Blackhole is a joy to play with, opening up new vistas for adding space where sounds couldn't easily go before.

    While the Blackhole is not a replacement for your go-to reverb on vocals and others kinds of hit-making production needs. This reverb almost certainly has a place in every studio that wants to add more than a little space to a track. The Blackhole is not just an effect. It is a powerful creative tool for sound design. Creating animated soundscapes, alien environments, and endless sonic tapestries are the Blackholes' forte. Still, many will find ways to use it for the animated effects that can add colorful organic movement to popular and acoustic productions as well.

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