…tide ? 
I find it really expensive too.
But can’t we talk about better (stereo) quality?
At least you never hear:
"I sent my track to a label and they said it could have been a hit if I’d only used a better reverb…"
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No in my case I guess it was mainly because of the compressor.
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still love the dark reverb in send-mode with low lp, p-locking some delay-cues and conditional triggering some lofi’s here and there…
i have always thought of the octa-fx more as “sound-modulators”, not really as “full” effects
this gets quite obvious by using the comb-filter, which can get crazy in many many ways…
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No, but maybe they’re not feeling the track, the way they would with a better reverb?
Ot fx are ok. Prefer them to korg equivalents in microsampler etc. Not sure if I rate any of them over equivalent pedals (in terms of sound etc… but the p-lock/scenes intergration is huge and balances that out).
I think just the fact that they’re there is the best thing about them though. 2 inserts per track and a good handful to choose from. Elektron seemed to have a change of heart in that area after OT. Would have loved to see them explore fx further and offer SP-404/op-1 type options…
I think a new OTMKII costs about $1,350 (OTMK1 For way less), give or take. In that $1,350 box you get…
An amazing sampler unlike anything
Crazy amounts of mangling options
A very flexible mixer with a lot of good effects
An extremely powerful midi sequencer
A professional compressor
And a lot more
Really, tons of stuff. OR you can mix and match your favorite effects, mixer, compressor, sampler and sequencer, fill up a huge table with a bunch of components for 3x the cost or more. It’s really quite the value
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Yeah it’s a good/unique package for the price.
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I am a firm believer in ‘it aint what you got, its what you do with it that counts’.
I could have a hit if I used a different reverb? Pppfff whatever!
One thing I really dislike, is when the effects are used as the feature, rather than as an effect. If I hear one more mono synth arp run through an eventide space…
Anyway, each to their own. Any opinion is subjective, and anyone can use anything and make good sounds given the right effort. Shit James Pullen evn managed to make that EMX1 reverb sound good!
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Right! There are people out there spending exorbitant amounts of time and sums of money to reproduce as faithfully as possible the sounds of the 60s, 70s, 80s, and even 90s (that last one seems weird when I think about it).
I don’t know how to say this well, but: FX is an element of genre or style, not a free-floating concept that linearly approaches some technological zenith.
I used to play in a band where spring reverb was the only reverb on anything. This would have been in the same in 1965, 2005, or 2099…
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The only reverb I’ve got is my man’s cave. To get the tail longer I’ll open the door. For early reflections I’ll block the monitors with a pair of friends.
From: The Poor Musician’s Handbook
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A least is it natural and stereo. 
Reverb should expand stereo field. Not reduce it like mono reverbs.
I made a test a to make Dark Reverb stereo yesterday,
CUE OUT LR > IN AB
1 Thru with A, hard pan left for AMP and reverb 1 Thru with B, hard pan right for AMP and reverb
Better results, but still not great. Internally it would use 4 tracks. 
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When I read this kind of statement from gear-loaded musicians, I get the feeling you get, when you hear a mono arp through the Space. Not saying that’s you, but there’s quite a few off them.
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If it’s all about cascading factory presets, I can agree if it’s being presented as a creation. Otherwise, everone is free to use his stuff in any way he likes it. Isn’t it all about having some fun, mostly?
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Totally disagree, at the opposite, I think it can be highly interesting to have 100% wet fx, dissolve / melt any basic sounds to make something new. Eventide Space is great for ambient stuff, pretty bad for realistic reverbs.
Strymon Big Sky, Empress Reverb have similar form factor / quality.
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i personally enjoy the fx alot, there might not be alot, but w plocking, lfos, and scenes, neighbors, you can do ALOT
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then with like ANY outboard effects, it gets crazy
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I’ll routinely sum stereo reverbs to mono, because sometimes mono reverb sounds better. Or maybe I have no choice because it’s all being recorded mono through a 35 year old, of brand, solid state practice amp that came out of the trash, because a lot of the time that sounds best of all.
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I have 2 ears.