The algorithm at the core of the Blackhole ($99 street) evolved from presets found in Eventide’s flagship DSP4000 and H8000 processors, as well as the Space stompbox. While the Blackhole may be used to create viable earthbound reverb sounds, its raison d’être is to empower sonic adventurers to explore hitherto uncharted realms of audio time and space. The Blackhole is compatible with AAX, VST, and AU plugin formats, and it requires an iLok2 USB key for authorization. I tested the AAX version in Avid Pro Tools 10 on a 6-core Apple Mac Pro running Lion. Installation took place with the rapidity of a decaying nutrino.
Interaction with the Blackhole occurs via fully automatible knobs, switches, buttons, and sliders. An ingenious virtual Ribbon Controller lets you program two sets of parameters, and continuously morph between them by mousing over the screen-length “ribbon” (or by clicking the buttons on either side of it). Other controls include Hotswitch (which lets you instantly toggle between two sets of parameters), Kill (which mutes the input so that you hear only the reverb tail), Freeze (which captures and loops audio in the reverb buffer, and allows you to manipulate the sound using the Blackhole’s controls), and Gravity (a reverb-decay knob that sweeps from dense/quickly decaying to long/smoothly decaying throughout half its range, and from reverse reverbs to wild time-inversion effects throughout the other half).
Additionally, you can vary reverb size and wet/dry mix, equalize reverb tails with the very effective Low (a shelving filter with a corner frequency of 350Hz) and High (a shelving filter with a corner frequency of 2kHz) controls, adjust the resonance of the Low and High filters, and modulate reverb tails with Moddepth and Modrate. Up to two seconds of predelay are available. With Tempo mode off, predelay is not synced to tempo, and beat values are displayed in milliseconds. With Tempo Sync engaged, predelay tempo is synced to the host sequencer, or if you choose Tempo Man, you can tap in the tempo, or dial in a set value.
I used the Blackhole on all types of tracks, including drums and percussion, electric guitars, hammered dulcimer, and kalimba, and I always got singular and often mindblowing results. In some cases, I was actually able to generate entirely new compositional frameworks by setting the Mix control to 100 percent wet, and letting the Blackhole do its thing on a separate track. While the Blackhole is mostly about real-time control, it does come with some superb presets—although they require an inefficient four clicks to load.
The Blackhole generates multiverses of new sonic possibilities for a c-note, making it an indespensible tool for anyone looking to expand their aesthetic horizons.