Clockwise from the 12:00 o’clock Off Position is Normal decay, while counter-clockwise provides an Inverse decay. More accurately it acts like an envelope affecting the density and character of the reverb. The Gravity knob determines the amount of decay, allowing you to shape the reverb’s tail. Mix sets the degree of dry/wet signal to the output. On the top of the pedal, there are six knobs, two foot switches and three buttons. Let’s take a look at the Blackhole pedal’s controls. “It’s really dense, but it possesses a soft charisma that can enhance all the right qualities of your source material, if you have the patience to work your way through the parameters.” It’s these controls which set the Blackhole pedal apart from past products and allow you to “precisely shape and fine tune every part of the reverb,” observed one evaluator. Our reviewers pushed guitars, synthesizers, drum machines, drone machines, experimental acoustic instruments (Waterphone!) through the Blackhole and came away impressed. Many sound grainy, granulated and polluted, or worse, thin and tinny. What precisely makes the Blackhole reverb algorithm so special? It’s not easy to do big reverbs. “While this reverb is not for everyone, Eventide has captured what makes the Blackhole so special and adroitly translated it into a pedal with plenty of tricks up its sleeve.” For those who are unfamiliar with the Blackhole reverb, please note, this is not your typical, plate, small room, hall or even cathedral reverb, this is, as Eventide describes it, “otherworldly” and “an alternate dimension of ambience.” Our reviewers agreed.
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