Long used as an essential reverb for mixing hit records, the Eventide SP2016, while long discontinued, is still in use in places like Ocean Way. Creating a reverb algorithm is part art and part science.

The science bit is all about the naturalness of the sound - whether the simulation convincingly conveys the "feel" of a real room.

Some digital reverbs don't have the horsepower to run a sufficiently complex program to achieve "naturalness." Without enough processing power the effect will suffer from low echo density or unnatural density growth with time or comb filter effects, etc. As Einstein is alleged to have said "things should be as simple as possible, but no simpler." This principle certainly applies to reverb algorithms.

The art of reverb algorithm design begins with simulating a 'room' that actually sounds good. Needless to say, rooms exist in the real world that sound awful. The structure of the reverb algorithm combined with the choices of delay lengths, interconnects, filter placement, early reflections, etc. all contribute to the overall sound. The final element of the art of reverb design is the designer's choice of the ways in which, and the extent to which, the artist/engineer/producer is permitted to modify the effect. What are the parameters and what do they do?

The degrees of freedom available to the designer guaranty that no two (sufficiently complex) reverb algorithms will sound the same. Each will be unique. There are a number of popular digital reverberators for good reason. Each has a distinctive sound, each has a particular set of possibilities. The SP2016 reverbs have attracted a loyal user base because of a particular blend of art and science. They sound natural. They sound distinctive. And, although they allow the user to vary the effect dramatically, the controls can't be set in such a way as to create an unnatural sounding effect - this is a good thing.

The algorithms naturally simulate every aspect of the sound of a real enclosure - from the complex early reflections, to the natural way in which the echo density increases with time, to the smooth Gaussian decay of the reverb tail. A powerful simulation that lends itself to parametric control - a good thing indeed.


  • Natural and distinctive; unique sound
  • Simple, intuitive parametric controls
  • Complex early reflections
  • Smooth decay tail
  • Novel Position control for precise room placement
  • Decay control sets the reverb time
  • Predelay adds a delay before the reverb
  • Diffusion alters the character of the space
  • EQ block: corner frequency and gain controls
  • Input gain control for precise level matching
  • Kill button for quick effect audition


I've used the Eventide SP-2016 on hundreds of projects since its initial release in 1983. I've always loved its smooth natural decay for vocals and orchestral tracks. The density of the reverb is great for drums and percussion. The new reverb 2016 retains all the charm of the original while...

—Mick Guzauski

I love the Princeton Reverb. The 'New' reverb sounds great. It's my new favorite snare drum reverb. It's got all the tone and character of the original 2016 but with much more life and aggression. It fits in the track nicely, it complements the original sounds and doesn't eat up too much room....

—Joe Chiccarelli

The 2016 plug is a regular component of my reverb scene. It's colorful texture penetrates guitar music better than just about anything.

—Hank Neuberger

For those of us in the engineering profession, the Eventide 2016 has been the reverb by which we judge all reverbs. These legendary reverb algorithms are among the most eagerly anticipated plug-ins ever!

—Dave Pensado

I've been bugging any number of reverb manufacturers to emulate the 2016's "Stereo Room" for over a decade. I'm excited to finally have one of my favorite reverbs available again.

—George Massenburg


The Modern Producer
By Matt Butler
Matt Butler of The Modern Producer takes a look at Eventide's SP2016 & Blackhole Reverb Plug-ins We all love classic reverb units for a reason. They simply sound timeless! When we think of classic reverb staples Eventide is right at the top of the list. As you can imagine engineers all of the world were very happy when Eventide started coding DSP versions of their revered reverb units. If you have any experience with original Eventide units you’ll quickly become fond of their plugin line. Read More...
Boosting the Low EQ can turbocharge the decay and, as long as you keep the levels in check, the tail is wonderfully smooth.

2016 Stereo Room Videos


2016 Stereo Room Videos

  • https://www.youtube.com/embed/_VCiautHNMI?rel=0
    Omnipressor and 2016 Stereo Room Demo

2016 Stereo Room News

October 18, 2013
Eventide announces 2016 Stereo Room and Omnipressor for AAX64, AU, and VST Native NEW YORK, NEW YORK, October 18, 2013 — Today, Eventide announced the immediate availability of the 2016 Stereo Room and Omnipressor® 64-bit plug-ins for AAX2, AU, and VST (Mac and PC) Native.  The new plug-ins are compatible with Pro Tools 11 and no longer require a physical iLok dongle...
April 11, 2013
Join Eventide April 16-19th, Las Vegas, Nevada, LVCC booth C1720 in the Central hall of the 2012 NAB show. We will be demonstrating Eventide's BD600E flagship broadcast delay integrating with the Wheatstone WheatNet IP Network for control and high-quality, low-latency audio streaming and remote control via TCP/IP....



Platform Compatibility

Microsoft Windows 7+ and Apple OS X 10.7+

DAW Compatibility

Software Plug-In Format
Pro Tools 10 + AAX Native
Cubase 7+ VST
Nuendo VST
Wavelab VST
Logic 8+ AU
Ableton Live 7+ AU, VST
Studio One AU, VST
Digital Performer AU
Reaper VST
GarageBand AU

Frequently Asked Questions


Eventide's native plug-ins do not require the use of an iLok USB dongle, however they do use PACE's iLok License Manger for authorization which is available from http://www.ilok.com.

Using iLok License Manger, you can activate the license in two separate locations, each of which can be either a computer, or an iLok license key. You can move these licenses at any time using PACE's iLok License Manager software.

In order to authorize your plug-in you need to install the iLok License Manager from www.ilok.com and move the license to either your computer or iLok license dongle. Even if you have a licensed iLok plugged in, the iLok License Manager must be installed.

There are several reasons you may see this error, but a common one is a mismatch of the serial number format. All Eventide plug-ins have a serial number in the form of XX-###### where XX represents a two letter sequence defining the product type and ###### is a 6 digit number. All plug-ins also have a 16 digit license key in the format ****-****-****-**** where each * can be either a letter or number. The license key is entered on the second page of the registration process.

If you believe your serial number and license key are entered correctly, please contact our Support department and we will solve the problem as quickly as possible.


All Eventide native plug-ins are 64 bit compatible with AAX, AU, and VST.

We currently test in house against ProTools 10, ProTools 11, Ableton Live 8, Ableton Live 9, Apple Logic 9, Apple Logic X, and Steinberg Cubase 7. However, in the rare event that users encounter problems with other DAWs we make efforts to investigate. If you experience such problems please inform us in our Forum.

Our native plug-ins including H3000 Factory Native, Blackhole, Omnipressor, and 2016 Stereo Room native plug-ins support AAX32, AAX64, AU, and VST on Mac, and AAX32, AAX64, and VST on Windows.


Eventide has its own preset format using .tide preset files. By default the installer installs the .tide presets to your Documents/Eventide/Presets folder. It may be necessary to check that the installer has placed the presets in this location. You can load these presets using Eventide's Preset Bar which is part of the plug-in GUI itself. Some hosts have their own preset bars which are used by the host. Eventide's .tide presets will not show up in this preset bar. To load an Eventide Factory Preset you have to use the preset bar which is inside the actual plug-in GUI, usually below the hosts preset bar.


First you need to create an account at www.ilok.com and download their iLok License Manager software. Install it on your computer. Second, register your plug-in on eventide.com, which will automatically send a license to your iLok account. Make sure to install the plug-in into your computer. Intallation files are located on individual product pages and on the Downloads page.

Alternatively, for products that allow computer authorization, after you've installed iLok License Manger and registered the plug-in, you can launch your DAW. Once the DAW scans the installed plug-in it will present a dialog box to install the license on your computer or iLok.

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