Others, like “Gravity" (which regulates the level of reverse reverb) and “Q" (which controls the resonance of frequencies emphasized with the EQ ), are less-common reverb functions, but shape the reverb color profoundly. Each knob has two functions, and secondary functions are accessed via a small, LED-illuminated push button at the upper right of the pedal. But it's still very powerful, and its features have been distilled to a functional, practical group that facilitates intuitive, creative experimentation, reveals tremendous textural range, and is easy and super fun to use.Īny player that has messed with the Space-or Eventide's other larger-form stomps-will recognize the basic functionality of the Blackhole's control set. ![]() ![]() Thanks to a well-conceived control interface, Blackhole isn't much more complicated than, say, a Boss pedal. What is striking is how functionally streamlined the Blackhole is compared to the Space and H9 processors that are also home to Blackhole-mode sounds. So the fact that Eventide elected to give the Blackhole a dedicated stompbox of its own is no surprise. Later, out in the wider world, I started running into engineers that were using the Blackhole mode in the studio and even in live settings to add ambience to mixes. I was happy that the Blackhole settings sounded fantastically, cosmically expansive without relying on some of the more overt “shimmer" tricks that can be a big-reverb cliché. ![]() But I also distinctly remember spending more time in the Blackhole mode than any other. Reviewing Eventide's Space reverb back in 2011, I was impressed with how many shades of ambience had been stuffed into one box.
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