Eventide is a business that has long been making waves in the analog tool industry. We have compiled the Top 12 Eventide Plugins 2023 because they have an excellent collection of plugins that replicate analog instruments.
In 1970, Eventide was founded and their first release was a tape search device for the Ampex multitrack recorder. Eventide got its beginnings in a tiny studio in New York without space for a tape machine and co-founder Richard Factor was tasked with creating a device that co-founder Steve Katz could use to deliver the tape to a precise area.
Owner of the studio and co-founder Orville Greene provided the initial funding. The group’s quick popularity allowed Katz to release solo recordings and he brought the device to the Ampex official in a fit of excitement, who informed the manufacturer and exclaimed, “We need several of them!”
In this first year, they also presented a fancy collection of goods at the Audio Engineering Society meeting in New York City. Unfortunately, he was unable to demonstrate them because they were entirely devoid of internal electronics, but he believed that if they were produced commercially, they might draw some interest.
Their first product line, the Instant Phaser, and, specifically for Maryland, a digital delay line that produces two independent delay channels from a single input, were inspired by this presentation and a good order from Maryland Public Broadcasting.
The majority of their analog tools now have digital counterparts. Let’s see what plugins we may utilize from them in 2023 after they also develop new solutions that are only for the digital world.
Top 12 Eventide Plugins 2023
1. Omnipressor (Dynamics Processor)
Because Eventide only produced TDM plug-ins, the ordinary musician was unaware of its existence. By making some of its current plugins native, the firm is now entering the mainstream.
Since its debut in 1971, the Omnipressor rack unit has been utilized often on commercially successful recordings. The lead guitarist for Queen, Brian May, was one of our very first clients. His sound was never the same once he added the Omnipressor to his equipment.
Dynamic gate, compression, capping, and expansion modifier of expert caliber. Even better, the Omnipressor can reverse the envelope of a sound, turning loud noises into quiet ones and vice versa and this plug-in is based on the original Eventide Omnipressor, launched and utilized for decades in hit albums.
The primary needle is located in the center of the interface, there are three options for this: input, output, and gain. The gain parameter displays both the right gain and the left attenuation, Along with this, green and red LEDs stand in for attenuation and gain, respectively with the intensity of the glow indicates how much the gain has changed.
- Dynamic Reversal
The dynamic inversion option is found in the last section. Signals that are below the threshold are amplified here, while those that are over it are muted, as you shift control, this behaviour gets crazier. Dynamic inversion’s boost and attenuation functions, when coupled, can produce some bizarre results, by altering the release time to provide a dampening effect, we could virtually completely remove the assault of many sounds with a quick attack setting.
Any other sound that has pauses may be treated to produce intriguing pumping and swelling effects. Utilizing the bass cut setting to balance things out, I found this to be very helpful on kick drums and loops.
The Omnipressor’s function control system is the first thing you’ll notice when you load it. From the gate entirely counterclockwise via expansion to a unit set at 12 o’clock, it operates as a nearly continuous control once you pass through the compression ratios from full limits to a quarter as you turn to the right.
The plugin is available for Windows 8 or higher and macOS 10.9 or higher, both 64-bit only. It comes in VST2/3, AU, and AAX formats.
The Omnipressor is a processor with a lot of personality when used more frequently. Limit controls offer a non-threshold-based alternative for fine-tuning gain behaviour, while flexible Attack and Release controls enable quick and smooth results.
We also particularly enjoyed the metering on the gain side, with the LEDs offering rapid and straightforward feedback. Although it might not be the first option for clean processing, the Omnipressor has a fantastic taste selection. It’s wonderful to see this venerable design in the native plug-in form.
2. H949 Harmonizer (Harmonizer)
Eventide Harmonizer puts its drum loop features to the test, showing off how effectively the delay mode and two separate algorithms work with drums.
The brilliance, vibrancy, and attitude of the original hardware are perfectly captured in this detailed replica of one of the earliest effects processors developed by Eventide in the late 1970s.
It has a broad three-octave range and the ability to reverse effects, micro pitch and random detuning, delay-only flanging, and several intriguing and unusual effects.
The initial piece of circuitry had two outputs, a delay-only output passed a delayed but otherwise unaffected signal while the main output carried the impacted signal. Along with a mix button and a few stereo connection options for the dual version of the harmonizer, they are replicated in the plugin.
- Select Knob
The main algorithms are selected using the Function Select button. A row of pitch-based operations and a row of delay-based functions are alternated using a radio button. Each mode has a distinct personality of its own. Normal and extended ranges, as well as micro pitch alterations with either positive or negative values, are all considered pitch changes. There are three types of delay options: normal, random (excellent for a double-tracked effect), and flanging, produced by frequency cancellations when a signal with a variable delay is applied to another constant signal and vice versa.
- Micro Pitch
Engineers may use this plugin’s specific MicroPitch mode to make tiny pitch adjustments for realistic dual-track replication. A fourth number and pitch resolution were added to the display, making it suitable as an instrument and a precise tool for tuning and tempo management.
Perfect harmonies, unique musical intervals, or bizarre effects can all be created. To make lush voices that bind your mix together, fatten up the snares, detune the synthesizers, space out the guitars, and fatten up the synths. Make your guitar solos more interesting by using delayed reversals, transforming a single vocal into a chorus of backing vocalists, or sending synthesizers into dub-halls that have been broken down into a different aural realm.
The plugin is available for Windows 8 or higher and macOS 10.9 or higher, both 64-bit only. It comes in VST2/3, AU, and AAX formats.
When it comes to genuine vintage twin tracking effects, this plugin is difficult to top. The controls offered are special; they differ from those seen in other contemporary plugins. This has advantages and disadvantages. On the bright side, it challenges you to select delay and pitch-shifting parameters outside your typical current perspective. The signal flow and the interactions between the many phases are quite innovative, adaptable, and dynamic.
The drawback is that to comprehend and utilize the plugin potential, it’s you’ll need to put in some effort and spend some time with it unless you’re an old-timer familiar with the original hardware. Naturally, there is a sizable library of presets to assist clear the path.
3. Octavox (Harmonizer 2)
A robust harmonizing plugin with numerous practical functions is one of Eventide’s most recent products, another creative offering from this forward-thinking business.
The Octavox plugin by Eventide is a water delay-style effect with pitch-shifting capabilities built into every tap. In addition to enabling some intriguing compositional effects, the combination also makes it enjoyable to play with several bizarre events.
Modern pitch processors appear to take this for granted, but if one knows how far to push the results to stay realistic, they should be OK. The Octavox is subject to the same law. A cleaner and more realistic outcome will always be obtained using appropriate judgment when deciding how far to bend the sound.
- Pitch Tracking
Each pitched touch remains static and the same distance from the source song in terms of the interval connection when pitch tracking is deactivated. As a result, using the plugin as a harmonizer on a melodic voice part and setting one tap to a third and one to a fifth won’t function fully since the taps will always be the same distance from the source, allowing for pitched taps to depart from the key.
When pitch tracking is turned on, the plugin will scan the incoming pitch, determine where it falls within a scale, and then dynamically alter the delay before striking the pitch to preserve the harmonious connection inside that key.
- Randomize Function
The Randomize option, which modifies the tap delays’ pitch significantly to produce a chorus sound, is another cool feature. This can be helpful for adding variations to taps that are delayed, placing a tap in unison without delay, or even pseudo-dubbing a source like a vocal.
- User Interface
The Octavox user interface is highly straightforward and easy to use. You may lock your tones to an interval grid in any key of your choosing using the bass and treble lines added to the standard tap delay presentation. You have an almost limitless range of pitches you may utilize since you can also alter the pitch shift on each touch, between intervals, based on cents. Octavox is incredibly simple to set up and takes a few minutes to produce practically any desired effect, although it is certainly advised to explore it for extended lengths of time. Because it is considerably more capable than what the human mind is capable of.
Although you utilize Octavox more conventionally, it can be used to create intricate and bizarre delay effects thanks to its fantastic harmony engine and Pitch Tracking function.
The plugin is available for Windows 8 or higher and macOS 10.9 or higher, both 64-bit only. It comes in VST2/3, AU, and AAX formats.
When you’re searching for a tool to add creativity to your workflow, Octavox is a ton of fun to use. It may be used as a straightforward delay, for intricate rhythmic effects, or as a box for effects that change the pitch. It distinguishes itself from the multitude of multi-voice pitch shifters that only statically modify pitches away from the source thanks to its pitch tracking feature, which enables it to be entirely effective for sustaining dynamically shifting pitch ranges in a song.
As Octavox is capable of far more intricate effects, such as producing arpeggiated delay sequences, this is a very simple illustration of how it might be utilized. I believe it may be used as a quick-fix tool to clean up old materials creatively.
4. UltraTap (Delay/Reverb/Sound Design Tool)
A novel new plug-in from Eventide is called UltraTap. The H9 plug-in series introduces it as the first plug-in in a new range of effects.
With a big helping of Eventide strangeness, UltraTap is more than just another multi-tap delay; it can produce delay, effects, tone manipulation, and more. You may switch between several groups of settings tab by using the wide ribbon located at the bottom of the plug-in window.
The fading length for each control, which is shown in blue, is determined by the endpoints on the rings around the controls. The ribbon responds to MIDI wheel mode control signals in DAWs that allow MIDI control of effects plug-ins.
The Hotswitch button allows you to quickly switch between two settings, with the goal of making the plug-in as functional for control as the hardware.
A further parameter is Duration, which limits the multi-tap burst’s Duration to a maximum of four seconds. The Taps option may be used to adjust the number of taps. Spread also refers to delay taps, however this time, the space between taps is altered. While clockwise values in the center gather the taps near the conclusion of the burst to produce a speeding up effect resembling the sound of a spinning coin coming in stand by, values left of center make the taps more tightly spaced at the start of the burst, slowing it down.
- Taper And Width
When used in stereo, Width controls the width of the taps’ stereo picture, delivering more alternative taps to opposite speakers as the value rises. The taper modifies the fade-in or fade-out level of the taps. The treble of the tap signal is either reduced or enhanced by tone.
Chop is a level modulator that can produce different tremolo effects, volume boosts, certain gate effects, and a choice of triangle, sawtooth, ramp, square, or sample waveforms. The LFO may be set with a touch button or synchronised to the host tempo.
- Signal Flow
The signal flow, which occurs in the sequence of Pre-delay and Tap Delay, is the best method to understand what the UltraTap can achieve. And you must understand what Slurm implies in order to follow this! The creators claim that Slurm makes tapping sound less concentrated through modulation, reverb diffusion, and various unpredictable, multi-voice explosions.
For both music applications and more general sound design tasks, UltraTap is a fun, creative tool. It may create high-quality double-track imitations or traditional echoes for music, quick delay bursts that more closely resemble closed reverbs, and certain rhythmic and freely manipulated sounds.
However, although some producers and engineers have discovered a method to employ a burst of delays that speed up or slow down in a musical context, I’m never really sure where to apply it based on artists’ presets. Additionally, ribbon automation allows for easy configuration switching. The more you experiment with the surprisingly few parameters, the more sounds you’ll learn to extract out the UltraTap.
5. Physion (Multi Effect/Sound Design Tool 2)
Discontinued, Replaced with Physion MK2
The technique utilized to distinguish input signal transients from the tail, as well as the post-processing performed to both, are novel features of the transient design plugin called Physion.
Structural Effects, the first of them, has a backstory covered in the section below this review. The second, known as Transient and Tonal, is divided into two distinct audio streams, and they scratch the surface of Physion’s inventiveness.
Additionally, it provides a discrete effects module for each stream, allowing, for instance, the crack of a snare to be treated with a delay while the body is run through a reverb, without any crossover between the two; the decay portion of a keyboard line to be auto-panned while the sound’s attack remains central, or the sustain of a tom-tom to be returned separately.
- Structural Effects
The transient and tone components of a sound are separated using Eventide’s Structural Effects algorithm. Eventide claims that it differs from currently used techniques for accomplishing the same task in that it filters the signal’s form rather than its frequency content over time. As a result, Structural Effects open up more possibilities for manipulation through much more precise and less linear analysis and separation, such as completely removing transients or removing snare threads from the degradation of a trap.
The conventional transient model only allows you to control the gain and decay of each element. The method is compared to a sieve since it separates the predictable transients from the steady tonal portions of the signal.
- Transient and Tonal
There are different effects menus for the Transient and Tonal channels that may be loaded, some of which are shared by the two channels but have somewhat distinct control schemes. It should be no surprise that they are all top-notch, given that Eventide has long been recognized as one of the world’s top suppliers of hardware and software effects.
The output levels of the transient and tonal effects channels may be adjusted using the Gain controls to the right, and you can isolate each channel’s sound with the Solo buttons. Both channel waveforms are overlaid on the waveform of the input signal in the waveform viewer. Both effects are applied to the full signal when the Structural Split portion is disabled, with the Focus slider defining how they should be balanced.
- User Interface
Although the machines in the background are complicated, Physion’s user interface is fairly simple to grasp. The splitting of the input into transient and tonal streams is handled in the middle Structural Split section and the transient and tonal effects modules that each stream leaves are housed in the sections above and below.
If no other caps match, adjust the source type to match the entering instrument to provide the Structural Effects algorithm with some direction. The Focus slider then determines the signal’s steady or predictable patterns, on which the plugin bases its transient and tonal cutoff point on.
With a significant expansion of the fundamental idea, Physion represents a generational leap for transitory design plugins. Though the results can be choppy at extreme levels, especially on fast-paced material, I’ve found it to be most successful on rather minor effects mixes and combinations.
However, when you discover that high-intensity sweet spot, the benefits are worth it. Of course, it may be quite good.
The Physion is a strong, adaptable, and musically excellent instrument with limitless artistic and corrective possibilities. It’s one of those plugins that inspires you to test them all out to see what happens, and what occurs is frequently amazing.
6. Spring (Spring Reverb)
You may get inventive with your instruments with Eventide Spring Reverb.
We all bemoaned the harsh assault and metallic sounds of spring-based devices back when they were the only inexpensive way to produce fake reverb, but just like with tape distortion, we found ourselves missing it once it is gone!
Eventide’s Spring is a careful imitation of the type of spring reverb you could find in a guitar combo. It is available as a plug-in that supports the standard Mac OS and Windows plug-in formats as well as an iOS app, and it has a wider range of options than the actual spring reverb.
There are controls for adjusting the spring tension, quantity of springs, and low and high damping, in addition to the Wet/dry Verb Mix and Decay knobs. There is a Tank switch to choose between big and small reverb tanks and a separate row of controls for the Tremolo effect with options for speed, depth, and modulation.
Additionally, there is an option for pre- or post-reverb tremolo. While I discovered that setting Tension clockwise and Tank size to the high produced the most realistic reverb sounds, other parameters may be excellent for interesting effects, especially when used with tremolo and modulation. A perfect companion to a spring reverb, the tremolo function may be used to produce an amp-like tremolo.
- Modulation Level and Resonance
You may modify the modulation level and resonance, which regulate a fixed-speed pitch modulator to add a chorus-like glow, on the right side of the bottom row of settings. Resonance gives a faint but beneficial edge to the modulated sound and operates wherever the high damping frequency is set.
You may manually adjust, Tempo-sync, tap, or mute the tremolo speed. When switching settings, a Mixlock function at the window’s top lets you balance the wet/dry mix. A comparison feature is also available to compare the current configuration to the previous one.
Eventide’s well-known horizontal transform slider, an active switch, Tap Tempo, and a Hotswitch to switch between the two control settings are all located at the bottom of the window. Drag the white dot in the ring of any control to choose the beginning position, and the control will then display a blue arc indicating the range across which the control may travel throughout the transformation.
This allows you to configure the ribbon parameter ranges. In most DAWs, ribbon position may be automated alongside any other control, and in those that offer MIDI control of plug-ins, it reacts to the CC1 MIDI controller when used in conjunction with a pitch bend wheel.
There is a fair collection of presets that demonstrate the versatility of this plugin, ranging from some really vile and metallic effects to a very believable guitar amp reverb. But maybe what surprises people the most is how, even when the reverb is set wet, as some of the short spring settings do, it still sounds good when blended with the dry sound.
Additionally, Spring’s applications go much beyond those of a guitar effect. It may be used to produce vibrant voices, textured synth treatments, and some unpleasant percussion sounds.
While the pre-post option, in conjunction with the independent pitch modulation, makes it simple to create movement or even rhythmic pulsations owing to the tempo lock function, the tremolo makes it simple to obtain those classic surf guitar tones.
It’s worth looking deeper because this plug-in isn’t overly pricey and provides a welcome diversion from all those polite digital reverbs.
7. Eventide SplitEQ (M/S Dynamic Equalizer)
It is hard to imagine that nowadays, someone can provide revolutionary solutions concerning music production tools. But the fact is that apparently, the famous American company Eventide managed to do it. Recently, they presented the SplitEQ plugin, which is something more than a simple equalizer.
Its main advantage is that you can control two different kinds of information of your frequency spectrum. Besides that, the developers introduced here some cool features that make this software versatile to use both on separate instruments and mix as a whole.
- Two Splitted Bands
Of course, you can use SplitEQ like any other EQ with quality sound. But the main thing about this plugin is that it provides two separated bends: one is responsible for transient control, and the second for tonal information. So you can affect the tonal characteristics separately from, for example, the attack. Or on the mix bus, affect the bass separately, without affecting the other elements.
- Panning Function
Another cool thing about the plugin is that you can separately adjust the panning of tonal and transient information. For example, just select the high transients and make them wider. It will give you, even more, control and room to experiment with your production.
- Adjust The Separation To a Taste
At the bottom of the plugin window, you will see the basic settings, including the Separation option. You will select the amount of separation between the two leading bands and adjust how aggressively the plugin’s algorithm will work in transient detection.
- Usability & Interface
Speaking about the settings in general, it is worth noting that you will have a total of 6 bands, through which you can perform separation and influence tone and transient characteristics individually. As with any other EQ, you also get two filters – High-Pass and Low-Pass. The interface is quite simple and does not differ much from the standard parametric EQ.
- The Set of Algorithms
The developers also included a set of algorithms to make your work easier. For example, there are options such as Kick, Snare, Tom, Cymbal, Full Drum Set, Bass, Piano, Guitar, Vocal, Full Mix, and more. You will have to select the appropriate source from the list, and the plugin will respond accordingly to give you the best results.
Eventide‘s SplitEQ is a unique equalizer that helps you work in greater detail on vocals and other instruments and the mix as a whole. You’ll get more control by influencing the tonal information and transients separately. This software is very versatile because it will help you eliminate problems and enhance your audio.
Also included here:
8. Eventide MicroPitch (Pitch Shifter, Chorus, Delay)
Eventide MicroPitch plugin is the latest incarnation of the legendary effect that has been influential since the 1970s.
Known for its unique delays, vocal-doubling, and tone-fattening capabilities, the MicroPitch allows smooth adjustments of each parameter.
The Flex button lets you double both pitch-shift amounts, so you can use this plugin to enrich your vocal recordings and create chaotic dive-bombing, dissonant chorus, or ethereal delays.
You get absolute control over the delay times with three sync options alongside a Tap button that lets you set a custom tempo. The latter is useful when using the plugin with a device that doesn’t have a MIDI clock.
Furthermore, you can use MicroPitch as either a mono or a stereo plugin with parameters per channel.
- Ribbon control
You can use this big slider control to simultaneously adjust two or more parameters as if they were linked. It is supposed to give you the feeling of adjusting different knobs simultaneously as if you were in front of a hardware unit. The advantage of this feature is it keeps the parameters you’re adjusting in ratio.
The ribbons allow you to set a range for each parameter you’re adjusting. On the screenshot above, you can see a black button at each end of the ribbon strip—they allow you to set the range. So, click on, say, the left one first. Now, you need to turn the parameter you want to control towards the left to set the range’s minimum value. Next, click on the right button on the strip, and move the parameter towards the right to set the maximum value.
MicroPitch features two controls to adjust the modulation or LFO amount on each generated voice’s pitch. The modulation depth controls the level of modulation, whereas the rate changes the speed of modulation. A moderate amount of rate creates a familiar ensemble effect, whereas an extremely high amount may sound chaotic.
- Mixlock & Tone
You can fix the mix level while auditioning other presets using Mixlock. It’s helpful to avoid changing the amount of wet sound you want.
The tone parameter applies a filter on both voices. It brightens or darkens the overall processed sound, which allows you to find the exact frequency range that will make the sound more or less apparent in your mix.
Compatible with macOS and Windows, this plugin is available in VST, AAX, and AU formats.
This plugin is designed to achieve the classic stereo-spreading effects. Also, it has numerous different controls, which makes it great for experimenting. You can create thick modulations, rich repeating delays, tempo-synced effects, etc. Furthermore, the ribbon control ensures its status as a reliable live performance tool.
9. Eventide TriceraChorus
Eventide’s Tricerachorus has its inspiration in vintage units and adds three adjustable choruses to your signal.
This plugin’s versatility comes from the three independently adjustable chorus controls and a wide range of parameters. The plugin offers two kinds of effects, Chorus and Chorale, as well as a Vibrato option. You can also control multiple parameters at once using Evetide’s RIBBON technology. Additionally, you can create beautiful flanger effects by pressing the Swirl button.
- Depth Knobs
Three depth knobs control the tri-chorus effect for Left, Center, and Right. Each one is an independent chorus voice. The delay times for each are modulated by a three-phase LFO, making the sound move across the stereo image.
This is an alternative to the regular chorus effect. It is based on classic rackmount tri-chorus units and produces an even thicker sound. It increases the effect’s Depth, making a lush-sounding result.
You can tell the plugin what kind of instrument you’re processing, so it tailors the effect to that particular sound. That makes the plugin operate differently from how it would with a preset. It doesn’t give you any pre-arranged parameters, simply activating an algorithm that focuses the plugin’s resources on the selected source.
Character & Sound:
This plugin’s micro-pitch detuning capabilities make it a genuinely vintage-sounding effect. Tricerachorus slightly detunes the left and right signals and pans them oppositely. That makes for a thick yet wide sound that is particular to this plugin. Additionally, You can combine the Delay time with the Swirl button to create an amusing old-school flange effect. Most importantly, if you want to add a nice lo-fi vibrato to your signal, turn the Chorus Mix knob up to one hundred.
This plugin is a fantastic addition to your collection. It is awe-inspiring how wide and deep the chorus effect can be, especially in Chorale mode. On top of that, the artifact-less modulation makes this a go-to plugin for impressive analog chorus emulations.
10. Newfangled Audio Generate
Newfangled Audio’s Generate builds upon a chaotic generator to create complex and unpredictable sounds.
This plugin uses the concept of additive synthesis to expand a basic waveform and shape it into whatever you need it to be. The signal starts with the Chaotic Generator, rolls into the Wavefolder and the Low Pass Gate. Like a regular synth, you can also add effects and modulate any parameter you see fit with Envelopes, LFOs, and more.
- Chaotic Generator
With all parameters at zero, the plugin simply offers a sinewave sound. The Chaotic Generator transforms that sinewave into a mind-bending, intricate sound. Simply select one of the eight oscillator types, the chaos amount, shape, and animation. Additionally, you can mix in two sub oscillators, sync it to tempo, and define the key you want to work within.
Here, you can start warping the chaotic waveform by adding drive, folds, and shape and symmetry changes. The result is a harmonically rich sound that you can take even further, thanks to the three Wavefolder types.
- Low pass Gate
Overall, this filter creates a smooth and pleasing sound contributing to Generate’s natural-sounding patches. An ADSR drives the LPG, and you can track the filter’s cutoff frequency to the notes you’re playing.
- Seven Modulation Pages
Generate gives you five kinds of modulations spread across seven selectable and tweakable pages. You get global settings, two envelopes, two LFOs, a Sample & Hold unit, and a Step Sequencer. You can use the circles above each section’s name to use that parameter as a modulator for anything in the patch.
Sound & Usability:
Creating your chaotic waveform is the most straightforward task possible since you don’t need to understand anything about synthesizers to get started. Simply press a note and watch the yellow lines behind the parameters. Then, as you tweak them, a visual representation of what you’re doing comes alive on the screen.
This innovative concept makes it easy for beginners and fun for the experienced. Different shapes, parameters, and chaotic mode combinations create absurdly interesting sounds, becoming even more enjoyable with modulation.
Generate, by Newfangled Audio, is an impressive tool that you should not take lightly. It might not be as versatile as others on this list in the long run, but it’s the plugin with a very unique sound. In short, Generate deserves a place in your collection, primarily if you work with sound design.
11. Eventide SP2016 Reverb
Eventide assembled its finest reverb modules and software of the past in SP2016, which emulates the stereo room, room, and plate algorithms from the original SP2016 hardware and the Modern algorithm from the 2016 Reverb. It’s a celebration of Eventide’s reverb contributions of the past couple of decades.
- Pre delay and decay
SP2016 has few parameters to tweak, but they all alter the sound significantly and are well designed to provide deep control over the reverb tone. For example, the predelay can be set up to 999ms to add separation between the dry and wet signals but also create rhythmic effects. In small decay values, it can act as a slap delay to add interest to your vocals. Speaking of reverb decay, the decay fader has a range of 200ms to an astonishing 100s. It makes SP2016 the ideal plugin for both subtle reverb sounds with moderate tail lengths but also for huge reverb effects that create ghostly tones and atmospheres.
- Position and diffusion
The position fader modifies the balance of early and late reflections. This is crucial in creating a balanced space with depth since it can create reverb sounds that feel as if they’re coming from the back of a room or the front of it. It dramatically affects the presence of the reverb tail to achieve this successfully. The diffusion fader affects the density of the reverb tail in a subtle way. This is done by altering the sound absorption of the iconic surface it creates to achieve realistic reverb sounds.
There is also an EQ included in SP2016 to help you craft a clear reverb tone. With two faders, you can set the low frequency and its gain amount to either boost or decrease it. Similarly, two more faders help you roll off or boost your higher frequencies. It is a non-surgical EQ aimed at rudimental frequency shaping, which suits the plugin’s style.
- Excellent sound, great presets
If you’ve worked with Eventide products before, you know the sound quality is top-notch. The algorithms modeled after the original hardware are very accurate, and the modern algorithm provides a clean and crisp reverb that suits today’s genres. If that’s not enough, Eventide brought on some amazing artists and sound engineers to create presets for SP2016. People like Dave Pensado, Sasha, George Massenberg, and Richard Devine all contributed presets to create an even better mixing experience when working with SP2016.
The plugin is available for Windows 8 or higher and macOS 10.9 or higher, both 64-bit only. It comes in VST2/3, AU, and AAX formats..
SP2016 is another knockout product by Eventide. It aims to bring together all the different reverb algorithms and styles from past Eventide products, and it has succeeded. The sound is excellent, the interface simple and clean, and the preset list filled with useful starting points for producers and engineers of all experience levels.
Despite this, the sound quality and price tag make it ideal for experienced and professional producers who need a top-notch tool to add to their arsenal.
12. Eventide CrushStation
CrushStation, by Eventide, is a versatile distortion plugin with a built-in gate and EQ.
You can add subtle or in-your-face distortion with this plugin. That makes it great for adding just a little bit of color and presence to a snare track or bring punch and heaviness to a guitar solo. The plugin lets you control several parameters at once using the Ribbon control. Additionally, the three-band EQ with sweepable mids gives you precise sonic shaping for your distortion.
This fun knob adds the sound of malfunctioning analog equipment, which extends the distortion experience.
You can use this button to add upper or lower octaves to the sound, which the plugin will smash together to create unique textures.
This button is great if you want two different settings for different parts of the same song, like in a lead guitar, for example.
You can use this to control multiple parameters at once and modulate the sound. One great example is having it modulate the Mids and Frequency knobs to create a comb-filter effect.
Character & Sound:
The various parameters let you thoroughly crush your input signal and turn simple, clean-sounding instruments into growly noises. Alternatively, you can add warm glue to the sound by applying just the necessary amount of drive to make instruments come alive. The Gate also adds nicely to the effect chain by giving you the ability to cut out the unwanted noises caused in between notes by excessive distortion.
This plugin is available for Windows 8 and higher and macOS 10.9 and later in AAX, VST2, VST3, and AU formats.
Eventide’s CrushStation is an exciting distortion plugin that offers an extensive range of applications. It feels a little overpriced, though, but it’s a great addition to your collection, especially if you’re into the Eventide ecosystem.
Elevate Mastering Bundle (4 Mastering Plugins)
An EQ and an adaptive limiter are included in this two-plugin bundle from the new startup founded by Dan Gillespie.
Elevate is the name of the most advanced mastering plug-in ever created. This cutting-edge multi-band limiter will increase your mix’s volume while maintaining or enhancing the feeling of its dynamic range. It uses advanced, flexible technology to produce the best sound possible.
Elevate, developed by Newfangled Audio, boosts the tonal harmony of your mix while preserving sensitive dynamics. The adaptive limiter alters the gain and transients for each band in real-time. Regardless of how much you push it, the result will be transparent and sound natural.
- Adaptive Technology
Elevate makes finding the perfect sounds for you easier by using AI approaches, but you can still access the engine for as much precise control as you’d want. Giving control over the harmonic ratio and transients is another stage in the restricting process. More controls provide you with the most freedom with professional results while adaptive algorithms reduce audible artifacts.
The human ear serves as the basis for the filters used in graphic equalization. The auditory filters and accompanying EQ capacity of EQuivocate make it extremely powerful, simple to use, and natural—perfect for mixing and mastering.
For each combination of settings, the 26 key bands each stimulate a different area of the inner ear, producing the most realistic-sounding settings. When this is coupled with a linear phase filter that reduces pre-echo, the difference is noticeable.
- Spectral Clipper
The Mastering Limiter is responsible for popularizing the Spectral Clipper technique known as Saturate. Saturate’s two controls work against a sophisticated signal processing engine that allows it to overload a signal without changing the tonal balance, regardless of how hard you push it.
has a form parameter that may be customized and spans from a lovely soft curve to a full cut. Additionally, you may alternate between the mathematically smoothest form and forceful cutting by using the SHAPE option. Use Saturated to overload a selection of tracks or the entire mix.
- Transient Shaper
A multi-band transient modulator called Punctuate is based on the key bands in the human ear. It is based on the renowned Elevate Mastering Limiter’s Transient Emphasis feature. Punctuate’s ingenious algorithms allow you to control the transient prominence or suppression of all 26 essential bands with just four inputs. As a result, a highly efficient and user-friendly transient modulator is produced.
The EQuivocate is significantly less at ease functioning outside of Mel scale mode than the Elevate is, as one might anticipate, but this specific filter distribution is – by design – still very much the sweet spot, as it were.
We greatly adore the Transient module, which is a wonderful creative tool as well as a corrective one. The adaptive algorithms are essentially magicians, delivering extraordinarily smooth and transparent limiting with a little tinkering. The Clipping part might be less interesting, but if used carefully, it can create a lot of noise.
In summary, the history of Eventide has been extremely effectively preserved and incorporated into the digital world. I’m delighted I got the chance to explore all of their options, but I ended up using a plugin that operates just the way I need it to, so I will absolutely buy it.
The Elevate Mastering Bundle is the subject. I enjoy how the observations the plugins get to connect with me visually. The way you can master your audio through 4 plugins is perfect for a simple mix or a complicated one, and I discovered that most of the time it genuinely analyzes the audio like a human ear would.
It obviously saves a ton of time, which is why I find it handy, but it also helps you develop your ear, making it valuable from a variety of perspectives.
Their micro pitch, chorus, and delay pedals are quite helpful and provide a fresh accent to the simulation. I enjoy introducing them on voice and guitar tracks, as well as occasionally on drum tracks. Without a doubt, Eventide SplitEQ is the most practical and adaptable plugin.
The way they added the Transient and Tonal options impressed me, and the visual interface for changing the band eq is quite helpful.
However, we strongly advise you to also have a look at their compressors, which modify the analog instruments they previously produced and which were quite effective. They replicate reality in an original way, and I really appreciated how adaptable they are.
We encourage you to go to their official website so you may test some of them out for yourself. Some of them even feature a trial option. Since the firm is constantly growing and will undoubtedly produce more high-quality plugins in the future, you should absolutely sign up for their newsletter.
Death metal enthusiast here. I am a Romanian musician and producer with over 13 years of experience in the music industry. I’ve experienced all types of Metal up until now, playing Melodic Death Metal, Brutal Death Metal, and Black Metal with different bands. Learning by doing is my base principle, which is why I’ve been drawn to sound design from an early age. Read more…