ReVoicer Vocoder

Vocoders rely on two signals being present at the same time in order to operate. These signals are the Carriersignal, which normally takes the form of a synth, and the Modulator signal, which normally takes the form of a human voice, although other instruments can work well (such as drums).

ReVoicer / Spectrum Filter-Bank Vocoder Oscillator

The Modulator signal is analysed by the vocoder and broken down into a number of frequency bands. The more bands that are available, the better quality of the analysis, which means that a clearer vocoded sound will be available. A typical Vocoder synthesizes a modulator (usually a voice) in the right channel of a stereo track with a carrier wave in the left channel (any active sound) to produce a vocoded version of the modulator (right channel).

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CustomVibe Vibrato

CUSTOM VIBE is a modern variation of classical organ and guitar effect, and one of the unique effects ever created. Original Uni-Vibe (TM) pedal was designed in 1968 by Japanese company. Main idea was to recreate the Doppler effect or the sound of a rotating speaker but result turned out to different sound.

The curcuit is phaser that industry create later, and this effect based on photo-cells. Later many companies build own versions of Uni-Vibe (TM) effect based on phasers, delay, chorus modulations in various proportions. and sizes. Later industry create more deeper Phaser effects.

CUSTOM VIBE is a modern variation of classical organ and guitar effect, and one of the unique effects ever created. Original Uni-Vibe (TM) pedal was designed in 1968 by Japanese company. Main idea was to recreate the Doppler effect or the sound of a rotating speaker but result turned out to different sound. The curcuit is phaser that industry create later, and this effect based on photo-cells. Later many companies build own versions of Uni-Vibe (TM) effect based on phasers, delay, chorus modulations in various proportions. and sizes. Later industry create more deeper Phaser effects.

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SABOTAGE 3-band Crossover FX

Introducing a new three band multiple FX Rack Extension.
The Crossover effect splits the incoming audio signal into three bands [Low / Mid / High] with frequency control and morphing.
If you connect any signal to the Main input and activate the Crossover section, you will have 3 bands. This classic crossover effect includes Low and High Frequency control for morphing around three bands.

SABOTAGE is a three band crossover effect that splits an audio signal into Low / Mid / High bands, sending the signal to the Main Output and individual 3-band outputs, but it’s not just a crossover effect.
The main principle of the device is a 3 band crossover with band effects. Every Band [Low / Mid / High] includes its own effects allowing you to morph between these three bands and their effects.
The device also includes Break Inputs for additional incoming signals for each band.

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ReSwitcher

 

Introducing new audio switcher with one stereo input and up to 4 outputs. RESWITCHER have a routing scheme in two modes.

MAIN MODE: You have four ABCD outputs and you can route signal to only one active output A or B or C or D (one per ABCD group).

MULTI MODE: You have four ABCD outputs and you can route signal as 4 copies of stereo signal to outputs A, B, C and D with personal On/Off buttons.
ABCD stereo outputs have own volume control.
ReSwitcher audio selector can be very useful for guitarists as channel switcher for various effects or amps. And also can be useful in many situations into Reason rack to copy your signal and work with activity of those copies.
Small but useful helper utility.

In many situations you can need a copy of signal with signal routing selection. ReSwitcher Audio selector can help you to switch copies of your signal that can have individual effects.

MAIN mode: 1 stereo input, 1 stereo output A/B/C/D. By Switcher you control what output of device A or B or C or D is active. If you select output B, input signal routed to device output B, ACD – is muted.
MULTI mode: 1 stereo input, up to 4 stereo outputs A/B/C/D. With buttons A/B/C/D On/Off you control activity of device outputs. If you select B, input signal routed to device output B, same with routing of A/C/D. A/B/C/D On/Off buttons turn On and Off device outputs A/B/C/D

    

 

 

ECRUOS Tap-delay

ECRUOS is a Delay effect with up to 16 configurable taps include smoothing of delay time changes. We present new delay type in Reason Rack Extension – Tap Delay.

Tap Delays usually have steps called as TAPs. Every TAP have own setting of Delay Time and Level.
Delay Time in ower effect can be Synced to your song project or set in seconds. Feedback control linked to each TAP. You can manipulate how much taps you need. Just try to draw your delay rhythms by TAPs.
Taps can control PAN of each step. We aso add Filter to this Delay device. Taps can control Resonance of each step.

ECRUOS rack extension includes:
– 16 steps (TAPS) with control matrix
– TAP controls for Delay Time, Level, Pan and Filter
– WIdth control of stereo signal
– Engage add some reverb to rhythmic output signal
– Filter with Resonance control
– LFO with Sync to Beats
With ECRUOS you can create new structure sounds from one note signal or any other source of signal.

Draw your Delay for new rhythms now. Try it today!

$29.00 (Intro $19.00)

DoubleComb

Introducing a new Comb filter with positive/negative morphing in Rack Extension format.
Comb filters usually reshape waveforms, ending upwith a signal that resembles a comb shape.Comb filters create copies of signal and work as a delay and filter at same time. Small delays between copies of the signal create phase offsets and the sum of them builds peaks. Filter Frequency sets the length between these peaks. Resonance sets the strength of resonant peaks at the cutoff frequency. As result, you have newly shaped waveform named as the Comb filter line.
Actual standards of Comb filters have selections of Positive and Negativemodes. Positive and Negative modes have peaks at 0Hz. Classical Comb filters normally use selected positive or negative modes, but we allow morphing of these modes at the same time. The device includes two individual Comb filters with customizable settings which you can morph between.

DoubleComb rack extension is also interesting because it includes:
– Biggest range of frequencies (from 20Hz to 25kHz) in Reason devices and Rack Extensions;
– Exclusive double-side engine: Positive and Negative modes with morphing;
– Neutral sum mode of peaks (50% of Positive/Negative morphing)
With DoubleComb you can really do more then you can do with other classic Comb filters.

Murder RhythmCutter

Introducing a powerful rhythmic cutter effect. With the MURDER rack extension it is possible to generate various arps and sequences with a few effects to create new complex rhythms for any incoming signal.
With GRID SIZE you can cut incoming audio signals into slices in steps that are synced to your Reason project tempo. 
STEPS PER BEAT sets the number of steps that are grouped as one beat.

The RHYTHM MASK section includes up to 8 steps.

Every step can be routed to various FX types and fx-hybrid variations. This part of the device is used to build new rhythms from scratch. The following are basic effects that can be routed to rhythm mask; 8 steps with 8 effect-variations:
– None (step is muted)
– Gate
– Repeat (each step repeats audio from previous step)
– Gate + Repeat (hybrid fx) 
- Pitch / Reverse (pitch sound up/down one octave, steps played in reverse)
– Gate + Pitch / Reverse (hybrid fx)
– Repeat + Pitch / Reverse (hybrid fx)
– Gate + Repeat + Pitch / Reverse (hybrid fx)

In the GATE CREATOR section you can control Gate Depth and Length of gated steps before they are muted. Also, this section contains a Filter (HP/LP morph filter) for gated steps and a random filter per step.
The RECREATE section controls Repeat and RePitch effects. The REVERSE section controls playing mode in reverse with an offset. MURDER is a powerful creative engine for your tracks.

   

AngryComp

Present new overdrive effect with nice range of distruction. But its not only just Overdrive. It much more complex solution and hybrid effect.
Overdriven signal from time to time help to get interesting sound if it use compressor. At this days you can find few interesting solutions in the world of guitar pedals. We find this trick very useful when you destruct signal, correct it in few ways and compressing it. ANGRYCOMP can easy change sound of piano, pads and another sound sources to very hard distorted sound.
AMP section include complex solution to break your signal.
Unique MADNESS function changes the colors of sound. Mutate adds distortions to boosterNature knob make sound more analogue and useful with any kind of incoming instruments/samples. Second section is Compressor.
Compressor can work as punchy compressor, but also have Sidechain Mode. Sidechain can help you to create new rhythmic lines of instrument with using other rhythmic tracks in project as sidechain source.
Compressor include configurable Envelope Detector section to create rules how curves can change sound. Unison Spectre help to create absolutely amazing and wide sound at device output.

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GRAINSHIFT Delay Pitch-Shifter

Introducing a powerful granular effect for real time processing of audio signal with pitch-shifter and delay. With GRAINSHIFT you can select position and length of grain that you get from incoming signal, way of playback direction of grain that been pitch-shifted and mixed with dry incomig signal.

Grain size have range 0-800ms, size of grain can be relative to the tempo. Also grain size have random size variations. Density can overlap between grains x1-x4. Grains can quantizes to beat grid. Beautiful point of this granular effect that grains can played as Forward, Reverse and Random modes for each grain.
Pitch of grains work up to 2 octaves. Grains can be subtracted with alternative pitch.
With PAN settings grains can have pan for each grain, and alsohave a random pan.
Big role of device architecture play DELAY section. It add more flexible and complex solution to work with grains. Delay have Time (seconds or synced to beats), randomise grain position in delay line and feedback from grain to delay input.
Granular effect stores the incoming audio in its buffer and splits it into short pieces (grains) which are then processed with delay, pan, pitched and played in various ways.

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