Eventide has redefined its celebrated reverb and pitch/modulation plugins, tailoring them for immersive audio applications. Eventide’s plugins have long been revered by audio professionals, and now, with enhanced multi-channel capabilities, they are even more powerful. The plugins, available in AAX, AU, and VST3 64-bit formats, are compatible with both Windows and Mac operating systems. Windows users need Windows 8 or higher, while Mac users require OS 10.14 or higher, whether using Intel or Silicon-based machines. For those who already own the original stereo-only versions, Eventide offers a more affordable crossgrade to the immersive audio versions, ensuring that their plugin ecosystem remains accessible.
The new plugins share a similar layout and color scheme, making the transition easy for users familiar with the original stereo versions. However, with immersive audio capabilities, there are notable differences, including new presets and multi-channel support. The plugins can now handle formats ranging from LCR to 7.1.4, and as of a 2024 update, mono, stereo, and 9.1.6 formats are also supported. The immersive audio plugins can upmix to these formats, allowing users to insert an instance on a mono or stereo channel and route it to more complex layouts, such as a 7.1.2 bed or quad bus.
One feature users will appreciate is the ability to resize the plugin interface by dragging from the bottom right corner. Additionally, fine-tuning parameters is simplified by holding the Command key on Mac or Ctrl key on Windows. Common to both plugins are input and output level controls adjustable between -60 and +12 dB, with input and output meters displayed as dots to indicate signal presence or overload. A mixer icon allows users to control the level of the effect going to each output channel, providing flexibility in immersive audio setups. For example, on a 7.1.2 instance, users can control the output levels for the front LCR channels, side channels, rear channels, and LFE, with the option to mute specific channels. The mixer’s flexibility is a standout feature in both plugins, offering significant control over how the effect is distributed across different channels.
At the core of each plugin’s interface is a highly versatile three-band EQ. This includes high and low shelves, which can be switched to cut filters, and a parametric mid-band. Users can EQ the effect globally or adjust the front, rear, and top channels independently. This allows for detailed control over how the plugin affects different parts of an immersive mix. For instance, the mix control adjusts the blend of dry and wet signals, with a lock function ensuring the chosen blend remains constant while auditioning different presets. Other useful controls include the Kill Dry button, which mutes the input signal, particularly handy in the Blackhole reverb plugin for tweaking reverb sounds. The Kill Wet button momentarily mutes the reverb tail, and both buttons are automatable, opening the door to creative sound design.
Another standout feature is the Morph function, which replaces the ribbon control from the stereo versions of the plugins. This allows users to automate a sweep between two sets of parameters by setting different values for each. The Morph function simplifies automation, allowing users to create dynamic changes in their sound without needing to tweak individual parameters manually.
Eventide’s Blackhole reverb plugin is a highlight, offering a dark, ambient reverb sound. Initially introduced in the Eventide DSP4000 hardware effects unit, it later became popular with guitarists and was released as a standalone pedal. In its plugin form, Blackhole is convenient for DAW users, and the immersive version expands its capabilities. Key parameters like Gravity, Size, and Feedback all influence decay time, with Gravity shaping the density of the reverb decay. As users adjust Size, they can create anything from tight slap-back effects to expansive canyon-like reverb tails. A new Crossfeed parameter allows users to control how much of the reverb effect is fed into the surround channels, a feature not present in the stereo version. This makes Blackhole particularly well-suited for immersive audio projects.
Both plugins also include a modulation section that controls the depth and speed of modulation in the reverb tail. The Freeze button is another fun addition, allowing users to mute the dry input signal and create infinite reverb. When paired with automated parameter adjustments, Freeze can lead to unique and creative effects.
The Tilt controls in both plugins further enhance flexibility by allowing users to weight parameters like Gravity, Size, and Feedback towards either the front or rear of a room. This provides even more control over how the plugin behaves in an immersive audio environment, ensuring that the effect is perfectly tailored to each part of the sound field.
In summary, the new immersive versions of Eventide’s plugins take an already impressive set of tools and expand them to meet the demands of modern immersive audio workflows. With a range of new features, intuitive controls, and detailed sound-shaping possibilities, these plugins are essential for anyone working with immersive sound design or multi-channel audio formats.
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