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$ 19

Inspired by UREI™ 555/556 Bandpass Filter
Variable Butterworth Bandpass Filter
Individual LowCut & HighCut control

FREE

Bandpass filters pass the selected range or band of frequencies (without distorting the input signal) that can be either narrow or wide, attenuating all those outside of this range. In other words, a frequency selective filter known as Band Pass Filter (BPF).
The bandwidth of the filter is the difference between the upper and lower cutoff frequency points of two filters.
BNDP556 bandpass filter is a pair of frequency cutoff state-variable filters, designed to adjust the audio frequency bandwidth.
The filters are 3-Slope (18 dB/oct), designed for Butterworth response.
The cutoff frequencies are tunable. The Low-end cutoff filter can be adjusted to a frequency in the range from 20 Hz to 200 Hz. The High-end cutoff filter can be adjusted to a frequency in the range from 2 kHz to 20 kHz.
The ideal bandpass filter would have a completely flat response (all frequencies would be passed to the output without amplification or attenuation, and would completely attenuate all frequencies outside the passband). In practice, bandpass filters are not ideal. There is a region outside of the intended passband where frequencies are attenuated, but not rejected. This is a filter roll-off (stop-band) before and after the bandpass range.
A bandpass filter can be characterized by the flatness of the frequency response Bandpass filters can be used as tone shaping elements.
BNDP556 is inspired by the legendary UREI™ 556 Variable Bandpass Filter.

Try out BNDP556 variable bandpass filter in the Reason Rack

LOW CUT: Low-end (Highpass) State-Variable Filter, that cuts the Low frequency from 20 Hz to 200 Hz

HIGH CUT: High-end (Lowpass) State-Variable Filter, that cuts the High frequency from 2 kHz to 20 kHz

LOW FREQ FLATNESS: Sets the flattest possible frequency response of the LowCut filter

HIGH FREQ FLATNESS: Sets the flattest possible frequency response of the HighCut filter

OUTPUT: Sets level of the processed signal

ACTIVE FX: Switches the effect between Active and Soft-Bypass modes. Variation of effect bypass with fade in and fade out that excludes loud peaks when you enable or disable the effect

$ 15

Booster for bass guitar based on well-known pedal
EQ with sweepable midrange
Fresh tone of passive bass, enhance amp sound

FREE

The primary function of a bass preamp is to boost the signal from the bass guitar. This is necessary because the signal from the instrument can be quite weak, especially if it is being played through a long cable or if the pickups are not particularly strong. By boosting the signal, the preamp can help to ensure that the bass sound is strong and clear, with plenty of definition.
In addition to boosting the signal, a bass preamp can also provide a range of tone shaping options. Most preamps offer a variety of EQ controls, which can be used to adjust the bass, midrange, and treble frequencies. This can help to tailor the sound of the bass to suit a particular playing style or musical genre.
These additional EQ features can be used to further shape the sound of the bass.
Utilize it to introduce a fresh tone to a vintage passive bass, enhance the sound of any amplifier, or add a unique flavor to a specific track.
If you need to using only preamp and disable EQ, just set Bass, Mid and Treble level knobs to zero.
BASSPUMP is a powerful helper for passive bass guitars.
BASSPUMP was been inpsired by well-known MXR® Bass Preamp™ pedal for bass signal modifiyng in live & studio tasks. It’s all about delivering super clean boost & equalisation with sweepable midrange control for your recordings.

Try out BASSPUMP as special spice to sculpt & boost your bass guitar signal with midrange freuency control for sweeten up any amp and add a new signal character.

$ 9

Based on most-popular preamp for guitarists
Sculpt & boost your guitar or bass signal
aw sound design for any kind of instruments

FREE

MACROAMP is an easily controllable and flexible preamp inspired by the well-known hardware preamp pedals (Micro Amp™ and Micro Amp+™) from MXR®.
This preamp is most-popular for guitarists, but also used by bass-guitarists.
Drawing it’s inspiration from the widely renowned pedal preamp booster favored by some of the world’s top artists for its exceptional ability to enhance and enrich the tone of guitars and basses while driving the front of the amplifier, the MACROAMP is an advanced version of the classic pedal with additional upgrades and EQ controls.
This powerful preamp is designed to take your sound to the next level.

The Gain knob enables you to boost your signal by up to +26dB, just like the original pedal.
With the addition of EQ controls, you now have the freedom to sculpt the boosted signal to your liking. For a traditional MacroAmp sound, the Bass and Treble controls should be set to noon.
We have added a PHASE INV button, which selects a stereophonic effect (inverting the phase of
the second output).

Try out MACROAMP to finely sculpt & boost your signal and open new horizons in sound design for any kind of instruments or vocals.

$ FREE

Add headroom, clarity, accentuate the hi-end freqs
Extra punch to high gain amp for coil or humbucker
Returns sound of old Magnetic strength of pickups

FREE

The Boost pedal is a specially designed tool used to enhance your guitar’s signal without adding any unwanted overtones or overdrive. It is compatible with both single coil and humbucker
pickups and is capable of boosting the volume of your amp without causing it to overdrive or distort.
The benefits of using a Boost pedal are numerous. It can add more volume to your sound, providing
additional headroom, clarity, and flexibility to your tone. Additionally, it helps to preserve the high-end frequencies of your guitar, accentuating them for a more pronounced and defined sound. Whether you’re playing live or recording in the studio, the Boost pedal is an essential tool for any guitarist looking to elevate their sound to the next level.

A boost pedal is a must-have tool for any serious guitarist. Boost pedals can help to emphasize the low-end frequencies of a bass guitar, providing a more pronounced and defined sound. By adding more
volume and headroom, the Boost pedal can help a bassist to achieve a more dynamic and expressive
playing style.
For keyboardists, synthesizer players and vocalists, the Boost pedal can help to add more volume, depth, and clarity to their sound or voice.

CLEANBOOST, as with any real clean boost effect, functions as such: Starting with the CLEAR BOOST knob at 0 dB, rotate the knob clockwise to increase the boost level by up to +20 dB.
We have also added a PHASE INV button, which selects a stereophonic effect (inverting the phase of the second output).

Try out CLEANBOOST for FREE to enhance your sound and open new horizons in sound design with any kind of instruments or vocal.

CELAN BOOST FOR:

More Volume: Helps to add more volume, with more headroom, clarity, and flexibility.

More clear or more dirty sound: make your sound louder and more powerful, without compromising the integrity of your tone. In addition to increasing volume, the Boost pedal can also add new tonal character to your amp. By emphasizing certain frequencies and harmonics, it can help you achieve a more defined and expressive sound.

Preserves the High End: Helps to accentuate the high-end frequencies.

Magnetic strength of pickups deteriorating over time: In vintage guitars over time, the magnets in their pickups can begin to deteriorate. This is because permanent magnets, which are commonly used in guitar pickups, aren’t actually permanent and can lose their magnetic strength over time.
However, there is a solution for guitarists who want to preserve the original sound of their vintage instruments. CLEANBOOSTER helps to maintain the magnetic field around each string, ensuring that you can hear exactly what your pickup sounded like on the day it was first wound. Guitarists can enjoy the full, rich sound of their vintage instruments without worrying about the magnetic strength of their pickups deteriorating over time. Whether you’re a seasoned pro or just starting out, this booster is a must-have for anyone who wants to get the most out of their vintage guitar.

Extra punch to high gain amps: A small amount of added boost to the front end of a high gain amp will do wonders for improving definition and the elusive tonal “tightness”.

**Coils & Humbuckers**:
Humbucker is simply two single coils wound together to prevent the hum that a single coil has. But it becomes louder and more powerful. Booster can help to single coils sounds more powerful.

Pre-Boost & Post-Boost:
Put the boost ‘post’, or after. That will take the sound that you have and simply amplify it louder. So ‘post’ boost is the same sound you have, just louder. ‘Pre’ boost is the sound you have with a little more grit.

## FUNCTIONALITY

CLEAN BOOST: Icnrease signal level from 0 dB up to +20 dB, excluding any clipping, overdrive or distortion
R CHAN PHASE INV: Inverting the phase of the second (Right) output. Pronouncing stereophonic effect (at rear panel near to Right output jack , LED indicated by red)

ACTIVE FX: Switches the effect between Active and Soft-Bypass modes. Variation of effect bypass with fade in and fade out that excludes loud peaks when you enable or disable the effect

$ 15

Boutique comp for BASS, GUITAR & other signals
Inspired by known Compressors in pedal form-factor
From Subtle peak limiting to Squashed compression

NEW

STUDIOCOMP is an easy and flexible compressor that is inspired by the well-known hardware compressors (Bass Compressor™ and Studio Compressor™) from MXR® in pedal form factor.
With a wide range of Attack time (up to 800ms) and Release time (up to 1.1s) along with Ratio (from 4:1 up to 20:1), STUDIOCOMP* is a versatile compressor suitable for bass, guitar, and other incoming signals.   The basic compressor controls (Attack, Release, Ratio, Input, and Output) make it easy to fine-tune your sound compression level, from subtle peak limiting to squashed compression, with visual feedback.

STUDIOCOMP also includes a Threshold control (with a range of -60 .. 0 dB) that sets the audio level above which compression is applied. Available Ratio steps of 4:1, 6:1, 8:1, and 10:1 work more as compression, while steps of 12:1, 16:1, and 20:1 work more as limiters. The SLAM option boosts the compression ratio so much that the output gets quieter as the input gets louder.

Try out STUDIOCOMP, the variation of the easy-to-use, transparent compressor from the bass and guitar world with plenty of headroom and clear performance.

Includes 22 Combinator 2.0 patches with various settings of Compression.

All product names, artists and bands names, trademarks, and registered trademarks are the property of their respective owners. All company, product, and service names used are for identification purposes only and are not intended to infringe on the copyrights of their respective owners. Use of these names, trademarks, brands, artists’ names does not imply any affiliation or cooperation with or endorsement by them with Turn2on. These product names and descriptions are provided for the sole purpose of identifying the tonal characteristics of specific products that were studied during the sound modeling process and for describing certain types of tones produced with current algorithms.

Main functional

INPUT LEVEL: Controls the gain level of the incoming unprocessed signal
OUTPUT LEVEL: Controls the gain level of the processed signal; compensates for any loss in level due to compression
ATTACK: Controls the reaction time of compression. It is the time it takes for gain reduction to increase when the signal level rises.
RELEASE: Controls how quickly the signal returns to its uncompressed gain level. It is the time it takes for gain reduction to increase when the signal level falls
RATIO: Amount of gain reduction to apply; sets the degree of compression from mild (4:1) to extreme (20:1)
GAIN REDUCTION: Meter display shows the gain reduction level and compressor response time
THRESHOLD: Sets the audio level above which compression is applied
SLAM: Boosts the compression ratio so much that the output gets quieter as the input gets louder.
ACTIVE FX: Switches the effect between Active and Soft-Bypass modes. Variation of effect bypass with fade in and fade out that excludes loud peaks when you enable or disable the effect

GAIN REDUCTION METER

Short string taps are a simple yet effective technique to observe the meter display of a compressor’s reaction time. This can prove to be extremely useful while adjusting the ATTACK & RELEASE values. By monitoring the meter display, you can determine how the compressor is reacting to the input signal and make necessary adjustments to achieve the desired effect. Utilizing short string taps as a tool in your compressor adjustment process can help you achieve the perfect balance between compression and the original signal.

COMPRESSION

If you are aiming for a standard studio dynamic range reduction, start by adjusting the ATTACK and RELEASE knobs to mid positions, and select a ratio of either 4:1 or 8:1. Adjust the input control until the -3 to -7dB LEDs are consistently lit while playing.
To achieve a softer sound during note attacks, try using a faster attack time and lowering the input level to only light the -3 to -5dB LEDs. Conversely, if you want to emphasize the sound of your attacks, consider dialing in a slower attack time and a faster release time.
For a more compressed sound, increase the input control to light more gain reduction LEDs. You can also experiment with a slow release time and a fast attack time to further accentuate the compression effect.

LIMITING

Limiting is a technique that involves utilizing high compression ratios, typically between 12:1 and 20:1, with fast attack and release settings. When using a 12:1 ratio, a soft limiting effect is achieved, while a 20:1 ratio produces a hard limiting effect. In extreme cases, such as when using the fastest attack and release settings, a “brick wall” limiting effect can occur. This is where the level of the audio signal is completely prevented from exceeding a specific threshold.
To achieve a classic “squishy” limiting, it’s recommended to dial in a slow release time with a fast attack. This will result in a reduction in dynamic range that creates a compressed and punchy sound.

$ 29

8-band resonance filter array World-Class FX
Animation patterns sequencer bands up to 64 steps
Original patterns from hardware pedals + custom

NEW

AniMuRFA effect includes an Animation Patterns sequencer, that helps to replicate all original patterns and create your own patterns for each of 8 filter bands. The incoming signal goes through the 8 filters. You can use AniMuRFA as graphic 8-band EQ (just set Animation Mix to zero), but resonant filters boost the central frequencies of the bands, and they don’t overlap.
AniMuRFA filters array color the signal, adding warm resonances at intervals through the freq spectrum.
LFO RATE helps to automate frequency levels at the same time for all 8 bands.
FreqShift knob helps to shift all 8 bands frequencies up or down.
Envelope controls (Attack, Release & Hold) shapes the musical sound envelope. Eight envelope generators (one for each filter) shapes the filters levels.
The timing and sequence of envelopes are based on the Animation Patterns (8-channel sequencer, one channel for each filter). Each step on each channel (band) of a pattern can be triggered, or paused.
Animation RATE controls the speed of the pattern.
AniMuRFA includes all original patterns of the hardware pedals (from the BASS and MID frequency models), includes own patterns as device patches, and applies to create your own patterns.
AniMuRFA patterns provide a wide variety of rhythmic timbral effects. Drive knob boost and compresses the signal, helps make the signal stronger and adds harmonics.

Try AniMuRFA animated multi resonance filter array effect as part of your Reason Rack today.

$ 29

Mechanical vibration Paired Springs Reverb
Inspired by EMS Synthi™ synthesizers reverb unit
The luxurious sound of Spring reverberation

NEW

REVERB-G was inspired by the reverberation section of the legendary hardware synthesizer Synthi™ (VCS-3, A, AKS). The reverberation tank was an important contributor to the Synthi sound and has now been modeled in REVERB-G.

The original reverberation section of the synthesizer comprises a pair of lightly tensioned springs with transducers at either end to transform the electrical signal into a mechanical vibration and back again to a signal. The basic function of reverberation is to simulate the effect of a room or hall, in which sounds take a few seconds to die away, but it can also be used for blending and distancing sounds.

The history of the EMS™ company started in 1969 and ended in 1979. Synthi™ (VCS-3) is one of the most iconic synthesizers of all time. You can hear sounds from this synthesizer and its Reverberation unit in the works of Pink Floyd, The Who, Yes, Curved Air, Family, King Crimson, Led Zeppelin, Roxy Music, Moody Blues, Three Dog Night, Sly and the Family Stone, and others.

REVERB-G models a mechanical vibration paired springs reverb audio processor inspired by the reverberation section of the EMS Synthi.
REVERB-G includes ORIGINAL mode with MIX and LEVEL control only, but also includes additional flexible MODERN mode, where we have added reverb parameters such as Pre Delay, individual Decay control (reverb tail length), Space and Mono/Stereo width control, HiCut and LowCut filters, and Damping filter (in progressive loss high frequencies).

REVERB-G derives its name from the original scheme of the Synthi architecture, where the Reverb unit is marked as unit section “G”.
The REVERB-G audio processor reproduces the character of the original reverb unit with its own musical sound used by many musicians, and allows us to touch the sound of the 70s.

Try out the legendary instrument-inspired mechanical vibration paired springs reverb today.

$ 35

Modern & Unique Formant Shifter & Note Correction
Voice Alteration FX that change Pitch and Gender
Signal locking to notes like autotune effect

VERY POP

Formants are the resonant frequencies from the human mouth with vocal tract. If a vocal track is pitch-shifted (without formant correction), the formants are shifted too, and you have a less natural-sounding result.

Pitch frequency is the fundamental frequency of the speech signal, and formant frequencies are essentially resonance frequencies of the vocal tract. These frequencies vary among different people and words, but they are within a certain frequency range.
Pitch-shifters usually transpose the signal in semitones up or down.

Formant shifters do not affect the pitch or timing of a segment. Formant shifters change only the sound of the voice, and you can have a low or high-pitched voice without changing the key.
Now all of this is possible to control with “FIREMINT” Pitch & Formant Shifter vocal effect.
For the creative powerful pitch warming effect, enable the “Link” button to sync the Pitch-Shifter changes to the Formant-Shifter at the same time.

Creatively automate the Formant shifter by selecting between 2 and 4 octaves in the octave range parameter.

The Pitch-Shifter engine based on the four frequency range (age or quality) parameter.
Drive analog modeled tube saturation, adds some warmth, grit and edge to the vocal track.

FIREMINT Pitch & Formant Shifter manipulates the semitone transpose and formant voice changes of a vocal signal in parallel or at once.

Turn2on “FIREMINT” Rack Extension is a flexible and powerful take on Pitch & Formant Shifters. It retains the basic functionality with the addition of shift quality range modes and analog modeled saturation control.
Perfect voice alteration effect that change pitch of a vocal, and change the gender of a vocal with formant shifting. With FIREMINT, it is possible to create huge variations of harmony and robotic vocoder effects.

$ 15

Early polysynths FX emualtion of Moog™ Resonators
Triple band Resonator emulation
Original HP/LP/BP modes with 24/12/6 dB Slope

NEW

POLYRES was inspired by the Resonators section in one of the first polysynths – Polymoog™ synthesizer.

The resonators consist of three parallel filters, globally switchable between HP, LP and BP modes.
Three individual resonant filters are band-limited, each with their own frequency range (LOW 60-300 Hz, MED 300-1500 Hz, HIGH 1500-7500 Hz).
Turning up Emphasis for each band creates individual peaks (resonances), called Resonators.
While the effect sounds interesting, Resonators in the early era of polysyths were 6 db/oct filters that passed too many harmonics, resulting in a buzzy sound, even at maximum resonance. This isn’t very useful for formant sounds because there aren’t any overlapping frequencies between the bands.

POLYRES has the same three resonant filters with Cutoff, Emphasis and Gain controls for Low, Medium and High bands. POLYRES also includes original HighPass, LowPass and BandPass modes.
Plus Slope modes (12 dB/oct or 24 dB/oct) which help incoming signals sound more clear and stable.

POLYRES resonator are an exclusive audio effect, designed in the earliest era of audio processing in the synthesizer industry. Every sound at “The Model” by Kraftwerk makes use of the resonator section of the original synthesizer.

POLYRES audio processor is a 3-band resonant filter system, which reproduces the character of the musical sound used by many musicians and allows you to capture that nostalgic sound of 70s.

Try out this legendary 3-band resonator today.

$ 29

Modern SVF with sound of analog filter & Self-Osc
Self-Oscillation, LFO & Env. Follower Modulations
HP, LP, BP, Band-Stop (Notch) and Peak filter

NEW

A State-Variable Filter is an active filter that uses multiple feedback techniques to produce filter responses (LowPass, BandPass and HighPass) from a single filter with user selection.
Classical SVF filters include controls for Filter Frequency, Filter Q and Gain.
With the ASVF-212, we included deep LFO control for the device’s parameters. A variety of textures and horizons of modulation morphing can be created by routing destinations such as Filter Freq, Filter Q, Low-High Filter Response, and Notch-Peak FIlter Response.
The ASVF-212 has an additional Notch Filter (Band Stop filter) and Peak Filter (BandPass filter).
The device can also take advantage of Envelope Follower tricks with modulation destinations for Filter Freq, Filter Q, Low-High Filter Response, and Notch-Peak Filter Response with a few Envelope Follower detection modes.  Envelope Follower can work with main incoming signal or additional external input.
What makes the SVF-212 different from a typical SVF filter? It is a Stereo filter-bank (LP, HP, BP, Notch, Peak filters) with deep LFO and Env. Follower modulation.
The ASVF-212 includes a Blend knob (Dry/Wet mixture of incoming and processed signals) to create more interesting and creative effects. The user can use the included hard clipped Limiter to control the final signal by adjusting the necessary Gain and Pre-Gain (unprocessed) levels. Drive works as overdrive and compressor effect. Filter at higher Filter Q values have small oscillation. In version 2.0 now is possible to activate Filter Self-Oscillation with filter keytracking, which allows you to use the filter as oscillator controllable by midi keys.
The ASVF-212 is a modern stereo SVF filter with advanced features and classical analog SVF possibilities. It allows for a lot of variations of active filtering, resulting in a unique sound.

UPDATE v. 2.0:

New bigger panel (3U height) with new GUI design
Self-Oscillation mode (set Filter Q = 100%, that run self-oscillation if option is on)
Filter Keytracking. Activate Key Note frequency mode, and play by midi keys with self-oscillated signal
Filter Smoothing
Envelope Follower works with main signal inputs, plus new external ENV.FLW inputs
Individual Envelope Follower Amount control (was been controllable by LFO Affect)
Filter Drive. Works like a overdrive with compressor. Can be active only as part of active Limiter.

BNDP556

BASSPUMP

MacroAmp

CLEANBOOSt

STUDIOCOMP

Main functional

GAIN REDUCTION METER

COMPRESSION

LIMITING

AniMuRFA

REVERB-G

FIREMINT

PolyRes Resonator

ASVF-212 v 2.0

UPDATE v. 2.0:

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