We’d expect this to be the same in both directions – but it isn’t. As the Gravity knob moves from 12 o’clock in either direction, either forwards or backwards, the decay changes length. Which, with the mix 100% wet can create lovely swell sounds. However, rather than just creating longer and longer decays from left-to-right, the control can be set to be either a natural decay or reverse decay to create a backwards reverb tail. The only confusingly named control is called Gravity and this is essentially the decay control. Personally speaking, we don’t let the size knob dip below 12 o’clock because that’s where the Blackhole starts to get more ‘spacey’. Interestingly, despite it not being what this pedal is designed for, it is possible to get some quite ‘normal’ reverbs with the Blackhole with the size set quite small and the feedback relatively low.
Eventide blackhole ginno legaspi full#
The full sweep of the pot spans very tiny rooms to enormous, cavernous sounds. The Size knob adjusts the size of the reverberation space.
The mix knob adjusts the wet/dry blend and has no secondary function – so whichever layer you’re on it’s always active. Most knobs have a primary and secondary function. To start from scratch and create your own sounds, we first need to get a handle on the various pedal controls. The other installed presets are also very creative starting points and one of them has a quasi-swell sound that, when applied to synths and other keyboard instruments, is pretty sublime. This first preset is surprisingly subtle, but after a bit of random knob twiddling we’re presented with some satisfyingly other-worldly sounds. The pedal is hooked up to my Audient iD44 on outputs 3 & 4 and the first thing I send through is some piano from my DAW, just to get an initial impression. The pedal also includes a power supply to get connected straightway, no 9V battery-rummaging required.īefore we explore the pedal’s deeper functions, it’s always fun to dive straight in and see what sounds can be wrought out of it via the presets that come installed on the pedal. The unit is a solidly built and has a chunky metal case with nicely designed pots that all move smoothly and allow for some very precise control.
Initial images show a plain black box, but there is an ominously cool black-on-black representation of a black hole on the pedal. The first note we make when opening up the Blackhole is that it’s very attractive. When connecting to a DAW, make sure you’re at line level because it’s a lot louder than instrument level, and you’ll get a lot of clipping if you send line level through the instrument level setting. This product is aimed at both guitarists and studio producers and it is this latter category that we will be focusing on here – the pedal conveniently comes with a switch at the back for selecting whether the input sources is at instrument or line level. The endless, surreal spaces it can create do feel like they could fill the cosmos. The name Blackhole is designed to evoke the image of space as an endless expanse in which sound can continue forever – and the effect certainly lives up to its name. However, what it does do is contextualise reverb as a creative effect.
If you want some beautifully emulated plates and chamber reverb sounds – then the Blackhole is not the product for you. Simply put, Blackhole is a reverb pedal – but not an ordinary one. However, Eventide realised a market existed for the effect as a standalone hardware device for users that didn’t want to splash out on the more complex H9 or the rackmount effects units. It can be found as a plug-in, and is also available for use in their H9 multi-effects pedal amongst others in the company’s top-of-the-line rackmount effects unit range. The Blackhole is based on an algorithm that has been available for at least ten years.
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