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Eventide Blackhole + H3000 Factory + 2016 Stereo Room Bundle eDelivery JRR Shop
Estimated price for orientation: 747 $
Category: Software Loops and Samples
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Description Condition: New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is applicable). Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. See the seller's listing for full details. See all condition definitions- opens in a new window or tab ... Read moreabout the condition Type: Virtual Processor Model: blackholeh3000factory2016stereoroombundle Platform: Mac, Windows MPN: blackholeh3000factory2016stereoroombundle Brand: Eventide UPC: Does Not Apply
Blackhole Blackhole is a massive reverberator that has evolved over the years by pulling in mass quantities of time and energy (of the development persuasion, of course). In its earliest incarnation – first in the DSP4000 and later in the H8000 flagship processors - it was regarded, by some, as a secret weapon. Recently it was tuned, expanded and enhanced and then unleashed in the Eventide Space stompbox. Now, it's available as a Native plug-in. Blackhole may not be your first choice to simulate an enclosure on the surface of the earth but, if you’re at all interested in ‘sculpting sound', Blackhole just might pull you in. From our vantage point, its possibilities appear to be endless but, of course, we can’t see beyond its event horizon. THE ULTIMATE EFFECTS TOOLKIT The H3000 Factory™ Harmonizer® Native plug-in for AAX, VST for PC, and AU is a re-creation of several algorithms from the H3000 that combine pitch, delay, modulation, and filtering in a modular interface. It features over 450 presets including over 100 new artist presets and over 100 original presets from the H3000. The H3000 Factory™ Ultra-Harmonizer native plug-in is a re-creation of several algorithms from the H3000 that combine pitch, delay, modulation, and filtering in a new modular interface for AAX, VST for PC, and AU. Included are over 450 presets: over 100 original H3000 presets and over 100 new artist presets from Alessandro Cortini (NIN), Chris Carter (Throbbing Gristle), Colin Newman (Wire), Damian Taylor (Björk), Dave Darlington (Bass Hit Studios), Kerry Leva (EDM Producer), Richard Devine (Sound Designer), and Scott Martin Gershin (Soundeluxe). Available effects blocks include delays, amplitude modulators, envelope followers, pitch shifters, filters, and low frequency oscillators. The Function Generator features nineteen waveshapes, a white noise generator, MIDI control, and a sidechain input. All delays and LFOs can be locked to system tempo. Each delay can be looped and offers a low pass filter. The filters are selectable band pass, high pass, and low pass with variable Q, and can be swept and modulated without audible artifacts. THE LEGENDARY REVERB ALGORITHM OF EVENTIDE'S SP2016 Long used as an essential reverb for mixing hit records, the Eventide SP2016, while long discontinued, is still in use in places like Ocean Way. Now, the top favorite reverb algorithm from this sought after hardware box is now available for Pro Tools AAX, VST for PC, and AU. Features -Natural and distinctive; unique sound
-Simple, intuitive parametric controls
-Complex early reflections
-Smooth decay tail
-Novel Position control for precise room placement
-Decay control sets the reverb time
-Predelay adds a delay before the reverb
-Diffusion alters the character of the space
-EQ block: corner frequency and gain controls
-Input gain control for precise level matching
-Kill button for quick effect audition Creating a reverb algorithm is part art and part science. The science bit is all about the naturalness of the sound - whether the simulation convincingly conveys the "feel" of a real room. Some digital reverbs don't have the horsepower to run a sufficiently complex program to achieve "naturalness." Without enough processing power the effect will suffer from low echo density or unnatural density growth with time or comb filter effects, etc. As Einstein is alleged to have said "things should be as simple as possible, but no simpler." This principle certainly applies to reverb algorithms. The art of reverb algorithm design begins with simulating a 'room' that actually sounds good. Needless to say, rooms exist in the real world that sound awful. The structure of the reverb algorithm combined with the choices of delay lengths, interconnects, filter placement, early reflections, etc. all contribute to the overall sound. The final element of the art of reverb design is the designer
Description
| Condition: | New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is applicable). Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. See the seller's listing for full details. See all condition definitions- opens in a new window or tab ... Read moreabout the condition | Type: | Virtual Processor |
| Model: | blackholeh3000factory2016stereoroombundle | Platform: | Mac, Windows |
| MPN: | blackholeh3000factory2016stereoroombundle | Brand: | Eventide |
| UPC: | Does Not Apply |
THE ULTIMATE EFFECTS TOOLKIT
The H3000 Factory™ Harmonizer® Native plug-in for AAX, VST for PC, and AU is a re-creation of several algorithms from the H3000 that combine pitch, delay, modulation, and filtering in a modular interface. It features over 450 presets including over 100 new artist presets and over 100 original presets from the H3000.
The H3000 Factory™ Ultra-Harmonizer native plug-in is a re-creation of several algorithms from the H3000 that combine pitch, delay, modulation, and filtering in a new modular interface for AAX, VST for PC, and AU. Included are over 450 presets: over 100 original H3000 presets and over 100 new artist presets from Alessandro Cortini (NIN), Chris Carter (Throbbing Gristle), Colin Newman (Wire), Damian Taylor (Björk), Dave Darlington (Bass Hit Studios), Kerry Leva (EDM Producer), Richard Devine (Sound Designer), and Scott Martin Gershin (Soundeluxe). Available effects blocks include delays, amplitude modulators, envelope followers, pitch shifters, filters, and low frequency oscillators. The Function Generator features nineteen waveshapes, a white noise generator, MIDI control, and a sidechain input. All delays and LFOs can be locked to system tempo. Each delay can be looped and offers a low pass filter. The filters are selectable band pass, high pass, and low pass with variable Q, and can be swept and modulated without audible artifacts.
THE LEGENDARY REVERB ALGORITHM OF EVENTIDE'S SP2016
Long used as an essential reverb for mixing hit records, the Eventide SP2016, while long discontinued, is still in use in places like Ocean Way. Now, the top favorite reverb algorithm from this sought after hardware box is now available for Pro Tools AAX, VST for PC, and AU.
Features -Natural and distinctive; unique sound
-Simple, intuitive parametric controls
-Complex early reflections
-Smooth decay tail
-Novel Position control for precise room placement
-Decay control sets the reverb time
-Predelay adds a delay before the reverb
-Diffusion alters the character of the space
-EQ block: corner frequency and gain controls
-Input gain control for precise level matching
-Kill button for quick effect audition Creating a reverb algorithm is part art and part science. The science bit is all about the naturalness of the sound - whether the simulation convincingly conveys the "feel" of a real room. Some digital reverbs don't have the horsepower to run a sufficiently complex program to achieve "naturalness." Without enough processing power the effect will suffer from low echo density or unnatural density growth with time or comb filter effects, etc. As Einstein is alleged to have said "things should be as simple as possible, but no simpler." This principle certainly applies to reverb algorithms. The art of reverb algorithm design begins with simulating a 'room' that actually sounds good. Needless to say, rooms exist in the real world that sound awful. The structure of the reverb algorithm combined with the choices of delay lengths, interconnects, filter placement, early reflections, etc. all contribute to the overall sound. The final element of the art of reverb design is the designer
-Simple, intuitive parametric controls
-Complex early reflections
-Smooth decay tail
-Novel Position control for precise room placement
-Decay control sets the reverb time
-Predelay adds a delay before the reverb
-Diffusion alters the character of the space
-EQ block: corner frequency and gain controls
-Input gain control for precise level matching
-Kill button for quick effect audition Creating a reverb algorithm is part art and part science. The science bit is all about the naturalness of the sound - whether the simulation convincingly conveys the "feel" of a real room. Some digital reverbs don't have the horsepower to run a sufficiently complex program to achieve "naturalness." Without enough processing power the effect will suffer from low echo density or unnatural density growth with time or comb filter effects, etc. As Einstein is alleged to have said "things should be as simple as possible, but no simpler." This principle certainly applies to reverb algorithms. The art of reverb algorithm design begins with simulating a 'room' that actually sounds good. Needless to say, rooms exist in the real world that sound awful. The structure of the reverb algorithm combined with the choices of delay lengths, interconnects, filter placement, early reflections, etc. all contribute to the overall sound. The final element of the art of reverb design is the designer