You really should. It's noticeably improved, even if you never never touch the EQ and only use stereo.I'm really tempted to crossgrade to the immersive version of Blackhole. Anybody know a good youtube video with tons of sound examples comparing the old vs the new? Though I guess I could always demo it myself.. hmm..
Here's a couple quotes from the Eventide developer on the GS thread.
One audible distinction is in how Freeze works. In the H9 plugin, the image collapses to mono; in the Immersive version, you can control if the frozen stereo image stays independently spatialized or mixes and changes over time... and you can do this dynamically in real time. This is part of what I mean when I say that the Immersive line is totally and fundamentally rethought from the ground-up in terms of how sound operates in three spatial dimensions; this is at odds with how the H9 Blackhole fundamentally approaches reverb. Another sonic distinction is that in Immersive you can dynamically change the Gravity knob and see no appreciable change in energy whereas in the H9 plugin there is slight growth or attenuation in the reverb energy when you change Gravity rapidly. The modulation section has been overhauled in Immersive as well - there is smoother and more accurate modulation, which changes the character of the modal and echo densities of the reverb.
I thought about this over the weekend, and there is another important distinction between Blackhole Immersive in stereo and the H9 Blackhole plug-in. Because of the changes we made to the algorithmic structure, we were able to break out Pre Delay and Loop Delay into two separate controls on Blackhole Immersive. In the H9 plug-in, there is a singular Predelay knob which controls all delay (related to - but not the same as - Pre Delay and Loop Delay from Immersive) in the structure.
This is a subtler quirk of the Immersive algorithm, but having independent Pre Delay and Loop Delay controls opens up a large swathe of sounds. Moving the Loop Delay to higher values than Predelay allows control over time in echo density growth. This allows for a different reverb characteristic that blooms and fades in a manner that nudges sound closer to what happens in an actual room (although I wouldn't necessarily call it realistic). It can also help to break up or induce more resonant and combing structures by respectively increasing or decreasing Loop Delay. In this way, Pre Delay can be used as a more traditional production control to delay the onset of when the reverb tail starts to hit. It's a very flexible layer of control, especially at smaller Size values.
Statistics: Posted by AtomOfScent — Fri May 24, 2024 2:54 am