You also get multiple filter shapes (bell, notch, high / low shelf, high / low cut, band pass, tilt shelf, flat tilt), spectrum grab, universal filter slope support for all filter types up to 96 dB / oct, EQ match, spectrum analyzer with pre-EQ, post-EQ, and external spectrum visualization, as well as auto gain and gain scale.
#SONIC CHARGE PLUGINS 64 BIT FULL#
Pro-Q 3 comes with up to 24 EQ bands, optional dynamic EQ mode for all bands (bell and shelf shapes), ultra-steep “brickwall” slope for LP and HP filters, full surround support, external spectrum visualization from other instances of Pro-Q 3 and collision detection, as well as per-band mid / side or left / right processing. Let’s talk about those features then, shall we? Pro-Q 3 includes a suite of mixing and mastering features, large interactive EQ display, unique features like Spectrum Grab, and a whole lot more. FabFilter is one of those rare developers whose plugins consistently live up to a high standard (with few exceptions). The presets include factory settings as well as artist presets from Flood & Alan Moulder, John Agnello, Sigur Ros, Vernon Reid, and Richard Devine.įabFilter’s FabFilter Pro-Q 3 is practically a legend unto itself. Now the same effect is available in VST form.īlackhole features 50 presets, supernatural settings, subtle settings, Gravity control, Kill Switch, Mix Lock, mono and stereo options, ribbon and hot switch, as well as full support for the Native Instruments NKS Effects system. In recent years, Eventide even released the Space stompbox utilizing the same design principles (there’s also a Blackhole reverb pedal now).
In addition to otherworldly celestial effects, Blackhole can be used for more conventional, subtler purposes too, be it highlighting a vocal track, or sending a synth further into the background.īlackhole is based on the algorithm originally found in the rackmount DSP4000 unit, which lived on in the rackmount H8000FW. Check out the video below to hear the verb in action.Įventide’s Blackhole reverb promises to break the bounds and physics of the real world, serving up “extraterrestrial” sounds you’d be hard pressed to find elsewhere. As always, though, we do recommend having a listen for yourself. Overall, we find the SP2016 Reverb smooth and warm. Onboard are high and low filtering options with adjustable filter ranges, and the low filter lets you cut or boost specified frequencies too. You can further control the shape of the effect with the EQ section. Even cooler, you get Vintage and Modern versions for all the verb types, so you aren’t locked into an era.Īs you would expect, the Vintage algorithm takes after the original rackmount unit, while the Modern algorithms were graced with added brightness, diffusion, along with a higher bit-depth.īuilt into the SP2016 Reverb is a Position control, which makes the process of finding the right corner for reverb in your mix an easy and pleasurable one. Included are emulations of the Room, Stereo Room, and High-Density Plate algorithms. Their SP2016 Reverb was lovingly modeled after the hardware counterpart, both in terms of sound quality and appearance.
Eventide is doubtless an expert in the field of echo and modulation effects, which they are well known for.
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