Eventide 141391 Blackhole Immersive Plugin For Atmos And Surround Mixing User Guide
- June 13, 2024
- Eventide
Table of Contents
BLACK HOLE®
Immersive
User Guide
Copyright 2023, Eventide Inc.
P/N: 141391, Rev 1
Eventide and Blackhole are registered trademarks of Eventide Inc.
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with permission.
Audio Units and macOS are trademarks of Apple, Inc.
Dolby, Dolby Atmos, and the double-D symbol are registered trademarks of Dolby
Laboratories Licensing
Corporation. Manufactured under license from Dolby Laboratories. Confidential
unpublished works.
Copyright ©2012-2021 Dolby Laboratories. All rights reserved.
VST is a trademark of Steinberg Media Technologies GmbH.
All other trademarks contained herein are the property of their respective
owners.
Eventide Inc.
One Alsan Way
Little Ferry, NJ 07643
201-641-1200
www.eventide.com
Welcome
1.1 About This Product
Thank you for your purchase of the Eventide Blackhole® Immersive plug-in.
Eventide Blackhole Immersive is a classic Eventide reverb effect capable of
producing huge spaces and out-of-this-world soundscapes.
For over 50 years, innovative effects like these have made Eventide an
industry leader, and we are proud that they continue to be in demand today.
Before you forget, please take a few minutes to register online. This helps us
keep you informed of any important software updates and provide you with
special offers that may only be available to registered users.
Blackhole Immersive
Blackhole Immersive is a reverb algorithm on a truly galactic scale. Beginning
life as a preset in the DSP4000, its lush sound and popularity encouraged us
to feature it as one of the premier algorithms in our hardware line. Its soft
attack and lingering, harmonic tail cause it to really shine on guitar,
strings, and pads—but those same qualities can also transform a drum track
into something other-worldly.
In redesigning Blackhole Immersive for Dolby Atmos® and surround formats, we
have added functions and features that extend the capabilities of the original
algorithm significantly. This is not just adding more channels to the classic
algorithm; it is now possible to control the dynamics of the spatial image.
Additionally, it is also now possible to adjust the reverb to have different
qualities in each region of the surround speaker array.
2.1 Navigating the Plug-In
The Blackhole Immersive user interface is designed with an emphasis on user
control and playability. Specifically, the knobs are easily adjusted with an
up-and-down motion of the mouse/finger. Fine-tune drag is available via the
(Mac) or (Windows) modifiers. The Morph control allows you to program ranges
of settings and change dynamically between sounds. All controls produce
smooth, glitch-free changes in audio.
2.2 Supported Surround Formats
Eventide designed Blackhole Immersive in accordance with the Dolby Atmos®
speaker setup guides.
To ensure the highest quality results, we recommend reviewing the speaker
placement specifications for your configuration on the Dolby website.
At present, Blackhole Immersive supports the following formats:
- LCR
- Quadraphonic
- 5.0
- 5.1, 5.1.2, 5.1.4
- 7.0, 7.0.2
- 7.1, 7.1.2, 7.1.4
Upmixing
In addition to symmetrical formats (where input format = output format),
Blackhole Immersive will automatically upmix the input source to match the
output configuration if necessary. Mono-in, stereo-in, and additional input
combinations are provided for each output format (DAW-dependent).
When using Blackhole Immersive with only a mono input channel, the dry signal
will only appear on the center channel. The input to the reverb, however, will
appear on all channels except for the LFE channel, creating a reverb that
comes from all directions. If this behavior is not desired, place Blackhole
Immersive on a surround bus and use the DAW’s panner to route the input sound
where desired.
LFE
The LFE channel is excluded from the reverb’s signal path. Accordingly, the
Mix knob has no effect on its level. The LFE channel’s level may be adjusted
using its channel fader, and a mute button is provided for removing LFE
content entirely from the mix.
When upmixing (e.g., from mono or stereo to 5.1), if the input format does not
contain an LFE channel, the LFE channel’s output will be silent.
2.3 Levels and Monitoring
Master Controls
Input Gain
Controls the input gain to the plug-in, between -60 and +12 dB. This
parameter sets the input gain for both wet and dry signals. Please note that
if input levels are too hot, it is possible to clip the signal internally.
Output Gain
Controls the output gain of all channels of the plug-in, between -60 and
+12 dB. This gain is applied post-mix, and affects both wet and dry signals.
Channel Levels
In/Out/Levels
Three-way switch to choose what information to display for the individual
channels.
In and Out views show dot meters indicating the presence of signal (nominal
level of -60 dBfs) for individual input or output channels respectively. These
meters make it easy to quickly diagnose routing issues. The dot meters also
include clipping indicators. These indicators may be reset by clicking on any
dot meter.
The Level view shows individual channel faders with level meters.
Channel Faders
Controls the output gain for individual speakers. The link buttons link the
gain for the sliders within the group in order to preserve the stereo image
within the group when changing gain.
When the Link button for a group is engaged, only the left channel of the
group will be read from automation or control surfaces. The other channel
faders in the group will be ignored.
Meters
Individual channel meters appear next to the channel faders. These meters
display the channel’s peak level, RMS level, and held peak level.
Additionally, a clipping indicator appears at the top of the channel meter.
Clipping indicators can be cleared via mouse click.
LFE Mute
Mutes the LFE channel when active. The mute and gain controls for the LFE
channel only affect the level of the dry signal since the reverb does not use
the LFE channel.
2.4 Controls
Many of Blackhole Immersive’s controls will be familiar to users of
Eventide’s stereo Blackhole® plug-in.
For those users, please note that the following parameters are new in
Blackhole Immersive:
• Gravity Tilt
• Size Tilt
• Feedback Tilt| • Crossfeed
• Kill Wet
• Loop Delay| • Delay Link
• EQ section
• Individual speaker levels
---|---|---
Mix
Determines the relative level of the wet and dry signals.
Mix Lock
The Mix Lock control is located to the right of the Mix dial’s value. When
locked, it prevents the Mix value from changing as you load presets. This is
especially useful on an effect return track where the mix should always be set
to 100%.
Gravity
AFFECTS DECAY TIME
Alters the shape of the reverb’s decay. In its center position (0), the decay
is very dense and clustered. As you move the knob towards 100, the decay
transitions to a more direct sound with a long and smooth decay. For negative
values of Gravity, as the knob sweeps towards -100 (“Inverse Gravity”), the
reverb takes on the character of a reverse reverb.
For a detailed description of how Gravity affects the reverb’s decay time,
please read the note on Decay Time (p. 12).
Gravity Tilt
Weights the Gravity towards the front or rear by scaling down the opposite
side’s value. Set Gravity to the value you want for the maximum allowable
Gravity in the array, then move Gravity Tilt positive to make the rear Gravity
values smaller, or negative to make the front Gravity values smaller. Gravity
Tilt always pulls the array towards 0 Gravity.
Size
AFFECTS DECAY TIME
Scales the size of the reverb. This can range from slapback delays, to
cartoonishly small spaces, to cosmically epic washes.
For a detailed description of how Size affects the reverb’s decay time, please
read the note on Decay Time (p. 12).
SIZE TILT
Weights the Size towards the front or rear by scaling down the opposite
side’s value. Set Size Tilt to the value you want for the maximum allowable
Size in the array, then move Size Tilt positive to make the rear Size values
smaller, or negative to make the front Size values smaller.
FEEDBACK
AFFECTS DECAY TIME
Controls the feedback around the entire reverb structure to make the reverb
tail even larger.
Similar to the Freeze button, you can create infinite reverb tails by setting
Feedback to 100% and Modulation Depth to 0%. Note that if new audio continues
to play into the reverb, audio will continue to build up in the buffer,
potentially producing clipping on the output if levels build sufficiently. The
Freeze button avoids this issue by internally muting dry input to the reverb.
For a detailed description of how Feedback affects the reverb’s decay time,
please read the note on Decay Time (p. 12).
FEED BACK TILT
Weights the Feedback towards the front or rear by scaling down the opposite
side’s value. Set Feedback to the value you want for the maximum allowable
Feedback in the array, then move Feedback Tilt positive to make the rear
Feedback values smaller, or negative to make the front Feedback values
smaller.
CROSSFEED
AFFECTS DECAY TIME
Controls the distribution of reverb energy around the surround array. At 0,
the spatial image stays locked in place; higher values produce a more dynamic
spatial image. Unlike the Feedback control, Crossfeed remains active when
Freeze is engaged, and can be used to alter the spatial image of the frozen
audio.
This control will also increase decay, so users are encouraged to compensate
by tuning the Gravity, Crossfeed, and Feedback knobs to get the desired reverb
decay tail.
For a detailed description of how Crossfeed affects the reverb’s decay time,
please read the note on Decay Time (p. 12)
KILL DRY
Mutes the input signal, allowing you to hear the reverb tail fade out. This
can be useful to help dial in the sound, or it can be automated for a more
tremolo-like effect.
KILL WET
Kill Wet is a momentary button that damps the entire reverb tail and clears
all delay lines, giving an immediate fade of all volume. This can be automated
for tremolo like effects with the build-up of reverb after each time Kill Wet
is pressed.
FREEZE
When active, the decay of the reverb is infinite, and input to the reverb
is muted, effectively freezing the audio in the reverb buffer. When Freeze is
active, the Feedback, Modulation Depth and Modulation Rate controls are
disabled.
Making changes to some controls when Freeze is active can allow for
interesting sound design. For example, the Crossfeed control can be used to
make the spatial image of the reverb tail dynamic or static. Altering the loop
delay while Freeze is active can also produce interesting results.
MORPH
The Morph slider is a macro control which morphs between two sets of
values: I and II. To use the Morph slider, you must first assign some values
to I and II. To do this, click the I button, then change the values of the
main controls or the EQ section that you want to morph. Next, click the II
button and then assign values in a similar fashion. Click the II button to
exit assignment, or simply move the Morph slider. Now the Morph slider will
interpolate between the values set for I and II. The mapped controls have
highlighted values to indicate that they have been mapped. To remove a control
from the morph, click the X on the highlight.
The Morph slider can be used to perform subtle or drastic transformations of
the reverb’s settings. You could, for example, map the Mix and Size knobs so
that as the Morph slider moves from I to II the reverb gets larger, but also
decreases in the mix. Alternatively, you could use it to shift the emphasis of
the EQ from the front to the back of the room.
MODULATION DEPTH
Sets the modulation depth in the reverb tail. This can be a subtle control,
which nevertheless can reduce ringing in the reverb tail and add some motion
to the sound.
MODULATION RATE
Sets the relative speed of the random modulation in the reverb tail, from
glacial to seasick.
TEMPO SYNC
Controls the tempo mode of the plug-in for Predelay and Loop Delay.
- Sync Delay amounts sync to the tempo of the DAW session.
- Manual Delay amounts sync to manually set Tempo value.
- Off Delay amounts set in milliseconds.
PREDELAY
Sets the amount of delay before the reverb section, ranging from 0 to 2000
ms. When Tempo Sync is off, the value is specified in milliseconds. When Tempo
Sync is set to either Sync or Manual, the value is specified in beat
subdivisions and is calculated using the specified tempo.
LOOP DELAY
Sets the amount of delay after the reverb section, which feeds back into
the reverb array. Loop Delay range is 0 to 2000 ms. When Tempo Sync is off,
the value is specified in milliseconds. When Tempo Sync is set to either Sync
or Manual, the value is specified in beat subdivisions and is calculated using
the specified tempo.
In order to hear Loop Delay’s effects, either Feedback or Crossfeed must be
larger than 0%.
DELAY LINE
The Delay Link button is located between the Predelay and Loop Delay dials.
When active, the Predelay and Loop Delay values will be linked based on the
value of the Predelay control.
When the Delay Link button is active, only the Predelay value will be read
from automation or control surfaces.
EQ
Blackhole Immersive features a three-band equalizer (EQ) section consisting
of Low, Mid, and High bands.
The EQ section can be adjusted directly on the plot or using the draggable
text controls beneath the plot.
The Mid band is a traditional peaking filter; it produces a broader peak when
boosting than it does for cuts at the same Q value. The Low and High bands
offer a choice between shelving and cut filters. Like other iterations of the
Blackhole algorithm, Blackhole Immersive uses a non-traditional shelf filter
that has been chosen for musicality reasons. With this filter, Q values do
more than change the slope of the shelf: they also have the effect of adding a
mild resonant bump to the midrange while having a smoother and
less resonant transition into the stopband.
While the plot is useful for quickly changing the EQ’s parameter values, we
recommend careful listening in tuning the parameters given the unique nature
of the filters.
Speaker Groups
The EQ section allows independent settings for up to three spatial groups of
speakers: Front, Top, and Rear. In the top-right of the EQ section, you can
select the currently viewed group by clicking on the All, Front, Top, or Rear
buttons. To reset the EQ curve for a particular group or all groups, simply
alt-click the relevant group button.
Front Left, Right, Center
Top Top Front (x.x.2, x.x.4), and Top Rear (x.x.4 only)
Rear Surround (5.x), Surround Side and Rear Surround (7.x)
Editing the EQ for a single group
When viewing Front, Top, or Rear, only the handles for the selected group are
shown and any edits to the plot only affect the current group.
Editing the EQ for multiple groups
When viewing All curves, the white handles and curves indicate shared
settings. If you click and drag on a white handle, it will affect multiple
groups at once. Similarly, dragging on a band rather than a handle within the
plot will affect all of the groups while preserving their relative offsets
from each other. To set the other handles in a band to match a particular
handle, double-click the desired handle and the other handles will jump to its
position.
Plot Mouse Controls
Action | Mac | Windows |
---|---|---|
Adjust Q | drag | drag |
Precision Drag | drag | drag |
Reset handle | click | -click |
Join handles (All view) | double-click | double-click |
EQ Controls
The Frequency, Gain, and Q controls displayed below the plot correspond to the selected group of speakers: All, Front, Top, or Rear. When the All group is selected, if a parameter has different values for the Front, Top or Rear groups, the control beneath the plot will read “–” to indicate that there are multiple values associated with that parameter. To set the value for all groups to a single value, simply click on the text and then enter the desired value.
Low Filter Type| Selects the filter type for the Low band for all groups: low
shelf (default) or
low cut.
---|---
Low Frequency| Adjusts the frequency of the Low band in the current group.
Low Gain| Adjusts the gain of the Low band in the current group.
This control is disabled when using a low cut filter.
Low Q| Adjusts the Q of the Low band in the current group.
Mid Frequency| Adjusts the frequency of the Mid band in the current group.
Mid Gain| Adjusts the gain of the Mid band in the current group.
Mid Q| Adjusts the Q of the Mid band in the current group.
High Filter Type| Selects the filter type for the High band for all groups:
high shelf (default) or high cut.
High Frequency| Adjusts the frequency of the High band in the current group.
High Gain| Adjusts the gain of the High band in the current group.
This control is disabled when using a high cut filter.
High Q| Adjusts the Q of the High band in the current group.
2.5 Preset Bar
Located at the top of the Blackhole Immersive Plug-In, the Preset Bar lets you
load and save presets, along with several other features.
When Blackhole Immersive is installed, the factory preset library is placed in
the following platformspecific location:
Mac | |
---|---|
Windows |
Within the Presets folder are two sub-folders: Factory Presets and User
Presets. The first contains the presets that come with the plug-in. The second
is for storing any presets that you create. You can create sub-folders within
the User Presets folder for organizing your presets if you wish. Presets for
Blackhole Immersive have a .tidex extension and can be saved or loaded from
the Blackhole Immersive preset bar in any supported DAW.
Many DAWs offer an additional generic preset bar that saves DAWspecific
presets to a separate location. We strongly recommend only saving your presets
using the Blackhole Immersive preset bar to ensure that your presets will be
accessible from any DAW and fully compatible with the plug-in.
Controls
Undo| The Undo button undoes the last change, and restores the plug-in to the
previous state. Pressing this button multiple times will move you backwards in
the plug-in’s state history.
---|---
Redo| The Redo button reverses the last undo command, if any. Pressing this
button multiple times will move you forwards in the plug-in’s state history.
Previous Preset| Loads the preset before the current preset in the preset
menu.
Next Preset| Loads the preset after the current preset in the preset menu.
Preset Chooser
Choose a preset from the Factory or User preset collections.
- Save as… Save the preset with a new name or location.
- Load… Open a preset from a location on disk.
- Import… Copy a preset from a location on disk into the User preset collection.
SAVE
Saves the preset to disk.
A B
Switches between two temporary plug-in states, A and B. This is useful for
making A/B comparisons.
- Click A or B to switch states.
- Click to copy state A into B.
- Click to copy state B into A.
The A and B states are not saved in your DAW session. When you load a session,
the current settings for the plug-in will be loaded into A and B.
Info(I)
Opens a drop-down menu with various help topics and settings.
- User Guide – Open this document.
- Webpage – Launches the Blackhole Immersive webpage.
Notes on the Algorithm
These notes are provided to give insight into how the underlying Blackhole
algorithm works. They are not intended to be the definitive path on ways to
use the plug-in, and exploration for new sounds is encouraged above all.
3.1 Decay
Blackhole Immersive’s decay time is dependent on the values of Gravity, Size,
Feedback, and Crossfeed controls.
Size is the most straightforward of these controls; changing this knob will
alter the virtual spatial dimensions of the Blackhole algorithm. Turning Size
to the right will take longer for echoes to build up, but will produce a
smooth decay tail; turning Size to the left will make the echoes build up more
rapidly but add more combs, often perceived as tinny and resonant peaks in the
reverb tail. The settings of 0-100 on the Size knob represent the values
developed for the algorithm on the Space pedal; turning Size down to -10 will
set the reverberant size to true zero, and this can be used for delay-like
settings. Size settings between 101-120 are truly galactic in scale, and can
be used to create large washes of reverb.
Gravity is broken up into two regions: positive and negative. On the positive
side of the knob, Gravity controls how long the reverb decays as well as the
balance of direct-to-reverberant energy. Turning the knob higher extends decay
time as well as makes the direct sound more prominent and defined; turning
this knob lower offers a slightly shorter (although still very long) reverb
tail with the direct sound setting back into the wash. If using Gravity on the
positive side of the knob, increase Gravity for more direct
sound, and compensate for the extended decay by reducing Feedback, and vice
versa. On the negative side, Gravity ranges from extended and very smeared
puffs of reverb close to 0, all the way towards a more lopsided and inverse
reverb sound as the knob approaches -100. Values close to -100 have lots of
use, from the aforementioned inverse reverbs to more chorused delay sounds
with modulation turned up and the Size set fairly small.
Feedback and Crossfeed both control feedback within the algorithm. Feedback
controls how much the Blackhole sound feeds back into itself at a given
speaker, while Crossfeed controls how much the Blackhole sound feeds back into
all other speakers in the Immersive speaker array. Both controls can be used
to extend or reduce decay time, depending on the desired reverb tail.
Crossfeed has a significant effect on the degree to which the spatial image of
the reverb is static or dynamic, with the image becoming more dynamic as
Crossfeed increases.
The tilt knobs can be further used to tweak the sound between the front and
rear of the array. With these controls, extensive shaping of the reverb tail
is possible.
3.2 Tilt Controls
Blackhole Immersive has three parameters with associated Tilt controls:
Gravity, Size, and Feedback.
These associated Tilt controls allow you to quickly produce different
weightings of the control between the front and rear of the room.
For example, to create a space that is large in the front and small in the
rear, set the Size control to a large positive value, then gradually move the
Size Tilt control from center (C) towards the front (F). To create a space
that is small in the front and large in the rear, simply move the Size Tilt
control towards the rear (R). Finally, for a space that is uniform in size in
the front and rear, simply set Size Tilt to C, its default neutral position.
A brief word on what is actually happening here: as you move the Size Tilt
control towards the front, the values for the Size in the front of the room
remain at the value set by the control. The Size values for the rest of the
speakers are proportionally scaled towards their minimum value (-10), with
the rearmost speakers being scaled down the most. Similarly, when the Size
Tilt control is moved towards the rear, the values for the Size in the rear of
the array use the Size control value while the values for the non-rear
speakers are proportionally scaled down, with the frontmost speakers being
most affected.
The Feedback control extends the tail of the reverb by feeding the output back
into the input; by using the Feedback Tilt control, you can fine-tune the
amount of feedback that the front and back of the room receive. For example,
moving Feedback Tilt towards the rear will produce a shorter tail towards the
front of the room.
The Gravity Tilt control allows for fine-grained control of the reverb’s
spatial image in terms of front and rear. For example, if you set Gravity to a
large positive value and then move Gravity Tilt forwards, this will produce a
clearly defined image in the front with a more diffuse wash towards the rear.
Setting Gravity Tilt towards the back will have the opposite effect, producing
a less direct and shorter reverb tail in the front with a clearer and longer
tail in the back. Unlike Size Tilt and Feedback Tilt, Gravity Tilt always
scales down towards 0, rather than its minimum value.
Because the tilt controls work by scaling down from the associated control
value, they will have the most impact when the associated value is a larger
value. For example, the Size Tilt control will have a much greater effect when
Size is 80 rather than when Size is 5.
The Tilt controls are disabled for the LCR format since there are no rear
speakers in that format.
3.3 Delay Section
Predelay is a traditional reverb control used to increase the perceived
size of a reverberant algorithm. We offer an extended range compared to
traditional predelay settings so that Blackhole Immersive can be used for
delay-like sounds.
The Loop Delay control sits after the Feedback and Crossfeed knobs; when both
of those controls are set to 0, Loop Delay will have no impact on Blackhole
Immersive’s reverb. While it can be used to tweak Blackhole Immersive’s
settings to act delay-like, this control is also useful for controlling the
reverb tail’s echo density. Loop delay values of less than 300 ms assist in
creating a “bloom” of sound that builds up smoothly in the reverb tail.
3.4 Modulation Section
The modulation section of Blackhole Immersive is not a traditional LFO as
is often used in musical modulation products. It is better to think of these
controls as a timbre shaper. Increasing Depth helps to make the reverb tail
darker, while Rate changes from subtle darkening at lower values to seasick
pitch shifting at higher values.
Conclusion
We hope you enjoy the Blackhole Immersive plug-in and put it to good use in all of your mixes. Please be sure to check out Eventide’s other native plug-in offerings for more unique and interesting effects. For further questions or support, head over to the user forums.
References
Read User Manual Online (PDF format)
Read User Manual Online (PDF format) >>