If I could add one parameter, it would be a mid/side option. I enjoy using it on Typhon, and since Typhon’s FX3 is an either/or of reverb or delay, this pedal allows me to use (and internally modulate!) Typhon’s delay in the FX3 slot, while this knobby Blackhole can handle the reverb in very interesting ways. The simpler the input signal, the more mileage you get from the Freeze. It’s entirely uninteresting when the mix is less than 50%, and if the input is complex program material (OT output), it just sounds like a stutter of noise. Perhaps for a synth capable of PRG CHNG it would make more sense, when using more varied and extreme settings.Īnd that brings us to the feature that I think work best on other instruments: Not sure if I’ll take that path for OT, since I am using it in a subtle way that I can apply well to all parts. I’ve yet to experiment with the MIDI over TRS functions, but in theory I could link my Parts to one of 127 presets in the Blackhole, via PRGL CHNG message. The result is my OT now sounds better than ever. It opens up those FX slots as well, and I can use the spatializer and chorus effects there instead, and get a better sound on the tune in the end. I’ve also noticed that where I was using any of the various OT reverbs in small amounts on individual channels (usually hats and percussion), the effect of those reverbs is completely overshadowed by the blackhole on master. Which means room for more creative FX for scenes in that slot instead. With Blackhole on OT output, I’ve been able to go into my OT Parts and remove the master dark reverb in FX2 that was used in the same way, but with a less complex algorithm. If i disengage the pedal, the OT sounds dull and dry, with it engaged the OT’s output sounds finished. With this use case the reverb is not super obvious, and that’s the idea. This adjustment can be done live, during breakdowns, or more minimal phrases, and dialed back when necessary. ![]() The result is a nicely complex density that doesn’t reverberate the low end too much, fills out the mid range, and I can adjust the “air” in the reverb by turning the hi shelf knob. Using this primarily on Octatrack’s stereo output, with mix at only about 20-25%, the lo shelf turned all the way down, hi shelf at noon, feedback low, and gravity inversed (left of noon). It’s more firm with less of that over-travel. ![]() Side note: I prefer the knob action on the Blackhole over the Space. So this makes it reliable and you don’t have to worry about losing what you’ve spent a lot of time dialing in, if you tweak it too much. The interaction between the Size knob and Gravity knob makes for a lot of variation, even though slight adjustments to either won’t completely transform the sound. From short almost plate style reverbs to complex rooms, to the wild modulated sound the algorithm is known for. Once you get your head around using the foot switches as well as the little red lights (which are also buttons) above them to load and save presets, it’s easy to use.Įven for one algorithm there’s a lot of variety available.
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