TEST: Eventide Space

 So if someone had told me a few years ago that I would find Eventide products lying at my feet in the form of a stompbox, at best they would have elicited a slight smile from me. The grand master of 19 inch studio technology in intimate company with Mr. Boss, Ibanez or Zoom? No, that would have exceeded my imagination.

One of the American company's current product ranges shows just how wrong you can be. Designed in the USA, built in China, the developers have once again tried the housing shape of the already well-known Pitchfactor, Modfactor and Timefactor from 2008 to design a digital reverb device, the Space (nothing Spacefactor......not a fun factor ......LOL).

Years ago, sophisticated reverb algorithms could only be handled by specially bred CPUs in the form of external outboard gear due to the complex computing process. Nowadays, theoretically, every home computer has enough taste to calculate the corresponding room simulations in real time. Therefore, more and more providers such as Eventide are looking for and finding the gap between user practicality and company experience in order to sell their products.

So why not a high-end stompbox for foot operation, where many guitarists already use a three-way wet-dry-wet system on stage in order to generate not only their basic sound but also the Fx component in the stereo image exactly according to their own specifications? Well, the selling price of just under €500 at least sets a whole new bar, which many guitarists are probably not used to from a single stompbox. The sub-name “Reverb And Beyond” already indicates a further purpose such as studio use.


construction

The Eventide Space, like its nephews from the factor department, measures 12.2 cm x 19 cm x 5.4 cm and weighs just under one kilogram. The robust metal housing with a large non-slip rubber pad on the bottom of the housing is also identical. Even if the entire structure is very stable, you just don't want to throw it in a backpack with the other mines, the respect for the name is too great.

The device has 12 Eventide Reverb algorithms, which are managed accordingly with a total of 11 controls. The preset controller is the only endless controller in the setup, the remaining 10 controllers have a pleasantly high quality and are difficult to move (always very important in a stop box due to the risk of the controller twisting). The manufacturer provides 100 presets, whose internal names are shown on a 12-digit, easy-to-read display.

Three massive and high-quality true-bypass foot switches manage the areas on/off, presets, banks and tap functions through multiple assignments, in turn supported by three LEDs. There are MIDI In and Thru/Out attached to the side of the housing for external control. There are mono/stereo in/outs on the back, with two mini switches used to switch the input and output levels between the high-impedance areas such as guitar/bass or high-level instruments such as keyboards. An external expression pedal, an aux switch and a USB cable can also be connected to install operating system updates.

Unfortunately, due to the components used, battery operation is not possible, so the product is delivered with an external 9V power supply. Interestingly, according to the label on the case, the product requires a current flow of 1200 mA, but the included power supply works perfectly even with just 500 mA output.


Practice

When testing a product for the first time, the user usually uses the standard procedure, i.e. skips through the factory presets. If you do the same, you should actually have the very good operating instructions, which are only available in English, at your fingertips at the beginning of the procedure. Even at least a rudimentary knowledge of reverb algorithms will make it much easier to access one or another sound structure.

The 12 algorithms are divided into the tried and tested groups Hall, Room, Plate, Spring and Reverse, all of which are self-explanatory in their area of application and each have subtle modulation. If you want to go for more effects, Space offers experimental sounds from the Shimmer, ModEchoVerb, DualVerb, TremoloVerb, Dynaverb, Blackhole and MangledVerb categories.

This is where a reverb specialist like Eventide differs from a PC plugin, regardless of how much computing power the desktop offers. The algorithms offered quickly reveal the fathers of the calculation steps, including the sound components of the highly valued house brands Eclipse or even the H8000FW in one or the other preset. Here you can hear the decades in which Eventide has developed a wide range of specialist knowledge, a basis that cannot be replaced by any CPU overkill.

The 9 different controls plus a mix control allow you to massively influence the sound of the individual sounds. In order not to completely lose track, you actually need the help of the manual mentioned above. Of course, you can also be happy about the crazy sounds you can create with the Space by fiddling around with the respective controls, but in order to use it in a targeted manner, you can't avoid musing and concentration.

Once you understand this, you will be rewarded in return with what is definitely the best reverb device among the mines! The depth effect of the processed signal is far beyond what other pedals offer and there is no need to shy away from entering the studio. The quality offered here is usually only found in corresponding 19 inch racks.




Conclusion

Sometimes there are situations during a test where you don't know whether you should be happy or sad. On the one hand, I fear that due to the high price and the complex user interface, the Eventide Space is a bit too high for the classic stopbox user. Only by intensively engaging with the product does the user realize what kind of quality he ultimately has on his hands and let's not kid ourselves, guitarists are anything but patient, introverted and "subtle" people (I know what I'm talking about.. .:-)

On the other hand, the Eventide Space creates a gap between itself and the rest of all other stompbox reverbs due to its outstanding signal quality. In my opinion, no other stompbox can currently hold a candle to the Eventide in the area of reverb algorithms; the difference in terms of fine resolution and spatial graduation is too great.

However, it is ultimately up to the user to decide whether this is even necessary for a guitar system due to its frequent transmission gap and whether a stomp box can be used in the studio. It definitely deserves its use due to its high quality!

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Additional Informations:


In the realm of audio processing, the development of digital reverb devices stands as a watershed moment, revolutionizing the way sound is manipulated and shaped. From the early experiments in digital signal processing to the sophisticated algorithms employed in modern reverbs, this article delves into the rich history and evolution of digital audio reverb devices, tracing their origins, key milestones, and enduring impact on music production and sound engineering.

Origins of Digital Signal Processing:
The journey of digital audio reverbs begins with the advent of digital signal processing (DSP) technology. In the late 1960s and early 1970s, engineers and researchers explored the possibilities of manipulating audio signals using digital computation, laying the groundwork for a paradigm shift in audio processing.

One of the pioneering figures in this field was Manfred Schroeder, whose groundbreaking work in digital reverberation algorithms paved the way for the development of early digital reverb devices. Schroeder's research into artificial reverberation led to the creation of algorithms based on feedback delay networks (FDNs), which simulated the complex reflections and decay characteristics of acoustic spaces.

Early Digital Reverb Devices:
The first commercial digital reverb device emerged in the late 1970s with the release of the EMT 250, developed by the German company Elektro-Mess-Technik (EMT). The EMT 250 utilized Schroeder's reverberation algorithms to generate lush, realistic reverbs, marking a significant departure from the mechanical reverberation chambers and spring reverbs of the past.

The EMT 250's compact size and versatility made it a hit among recording engineers, studios, and artists, setting a new standard for reverb processing in the professional audio industry. Its success spurred further innovation and competition, leading to the development of a diverse range of digital reverb units from companies such as Lexicon, AMS Neve, and Yamaha.

Advancements in Algorithm Design:
As digital audio technology continued to evolve, so too did the sophistication of reverb algorithms. Engineers and researchers explored new techniques for modeling acoustic spaces, refining algorithms to achieve greater realism and flexibility in reverberation processing.

One notable advancement came with the introduction of convolution reverb in the 1990s. Convolution reverb employed impulse response measurements of real acoustic spaces to create highly accurate simulations of room acoustics. This breakthrough allowed for unprecedented realism in digital reverbs, enabling users to recreate the ambience of renowned concert halls, studios, and cathedrals with unparalleled accuracy.

Parallel to convolution reverb, algorithmic reverbs continued to evolve, incorporating advanced features such as modulation, diffusion, and early reflections to enhance spatial imaging and create immersive soundscapes. Companies like TC Electronic, Eventide, and Bricasti Design pushed the boundaries of reverb processing with innovative designs and algorithms, catering to the diverse needs of recording studios, live sound engineers, and multimedia producers.

Integration into Digital Audio Workstations:
The widespread adoption of digital audio workstations (DAWs) in the late 20th and early 21st centuries further propelled the popularity of digital reverb devices. DAWs offered seamless integration of reverb plugins, allowing users to access a vast array of reverbs and effects within their digital audio environment.

Plugin developers responded to this demand by creating an extensive range of reverb plugins, ranging from emulations of classic hardware units to cutting-edge algorithmic and convolution reverbs. This democratization of reverb processing empowered musicians, producers, and sound designers to experiment with different reverbs and create immersive sonic landscapes with unprecedented ease and flexibility.

Conclusion:
The evolution of digital audio reverbs represents a remarkable journey of innovation, creativity, and technological advancement. From humble beginnings as experimental algorithms to indispensable tools in modern music production and sound engineering, digital reverbs have transformed the way we perceive and manipulate audio.

As we look to the future, the legacy of digital reverb devices continues to inspire new generations of musicians, engineers, and researchers to push the boundaries of sonic possibility. Whether recreating the acoustics of legendary concert halls or crafting otherworldly soundscapes, digital reverbs remain an essential component of the audio production toolkit, shaping the sounds of today and tomorrow.

The realm of music and audio processing has seen a continuous evolution, driven by technological advancements and musicians' quest for new sounds and capabilities. Among the myriad innovations, digital audio foot pedals stand out as a significant development, offering guitarists and other instrumentalists unprecedented control over their sound. This article embarks on a detailed journey through the origins, key milestones, and enduring impact of digital audio foot pedals, tracing their evolution from humble beginnings to indispensable tools in modern music-making.

Early Experiments and Analog Predecessors:
The concept of effects pedals dates back to the early days of electric guitar amplification, with pioneers like Les Paul experimenting with tape echo and other rudimentary effects. However, it was not until the 1960s that the first commercially available effects pedals began to emerge. These early pedals, such as the Maestro Fuzz-Tone and the Vox V846 Wah-Wah, relied on analog circuitry to modify the guitar signal, introducing distortion, filtering, and other effects.

The transition to digital audio processing gained momentum in the late 20th century, driven by advancements in digital signal processing (DSP) technology. Digital effects processors offered greater flexibility, fidelity, and programmability compared to their analog counterparts, laying the groundwork for the development of digital audio foot pedals.

Pioneering Digital Foot Pedals:
One of the earliest digital foot pedals to gain widespread acclaim was the ADA Flanger, introduced in the early 1980s. Developed by Analog Digital Associates (ADA), the Flanger utilized digital signal processing to create lush, swirling modulation effects, marking a significant departure from analog flanger pedals of the time. The ADA Flanger's ability to produce complex, dynamic modulation effects quickly made it a favorite among guitarists seeking to expand their sonic palette.

Following the success of the ADA Flanger, other manufacturers began to explore the possibilities of digital audio foot pedals. Companies like Boss, Digitech, and Line 6 introduced a range of digital effects pedals, including delays, reverbs, choruses, and multi-effects units, each harnessing the power of digital signal processing to offer unprecedented versatility and control.

Integration of MIDI and Preset Functionality:
One of the key advancements in digital audio foot pedals was the integration of MIDI (Musical Instrument Digital Interface) technology. MIDI allowed foot pedals to communicate with other MIDI-compatible devices, opening up new possibilities for automation, synchronization, and control. MIDI-enabled pedals could be used to trigger presets, change parameters, and even switch between different effects chains with a single footswitch press, enhancing the performance and workflow of musicians.

Furthermore, digital foot pedals began to incorporate preset functionality, allowing users to store and recall their favorite settings effortlessly. This feature proved invaluable for live performance, as musicians could switch between different sounds and effects instantaneously, without the need for manual adjustments or pedal rearrangement.

Expanding Horizons with Modeling and Hybrid Designs:
As digital audio technology continued to evolve, so too did the capabilities of digital foot pedals. Manufacturers began to incorporate modeling technology, which emulated the characteristics of classic amplifiers, cabinets, and effects pedals. This allowed guitarists to access a vast array of tones and textures within a single pedal, eliminating the need for cumbersome gear setups and facilitating experimentation with different sounds.

Hybrid designs also emerged, combining analog and digital circuitry to harness the strengths of both worlds. Pedals like the Strymon Timeline and Eventide H9 featured a blend of analog signal paths and digital processing, offering the warmth and responsiveness of analog circuitry alongside the versatility and precision of digital technology.

Modern Innovations and Connectivity:
In recent years, digital audio foot pedals have continued to push the boundaries of innovation, incorporating advanced features and connectivity options. Wi-Fi and Bluetooth connectivity allow pedals to communicate wirelessly with smartphones, tablets, and computers, opening up new avenues for control, editing, and firmware updates.

Furthermore, digital foot pedals have embraced the trend towards integration with software-based amp simulators and digital audio workstations (DAWs). Pedals like the Neural DSP Quad Cortex and Line 6 Helix offer seamless integration with amp modeling software, allowing users to access a vast library of virtual amps, cabinets, and effects directly from their pedalboard.

Conclusion:
The evolution of digital audio foot pedals represents a remarkable journey of innovation, creativity, and technological advancement. From the early experiments with digital signal processing to the sophisticated, feature-rich pedals of today, digital foot pedals have transformed the way musicians approach effects processing and sound design.

As we look to the future, the legacy of digital audio foot pedals continues to inspire new generations of musicians, engineers, and innovators to push the boundaries of creativity and expression. Whether crafting intricate soundscapes in the studio or unleashing blistering solos on stage, digital foot pedals remain indispensable tools for musicians seeking to shape their sonic identity and captivate audiences around the world.