RackExtensions – Page 2 – Turn2on Software

$ 29

Intuitive Buss Compressor with Parallel mixing
Tonal Shape and Sidechain filtering control
Configurable character settings & distortion value

NEW

DRWCMP78 is a stereo buss compressor with character settings, controlled distortion, tonal shaping, parallel mixing, versalite, and intuitive. Inspired by the hardware effect processor Drawmer™ 1978®, but developed in its own way.
The compressor is an intuitive part of the device, with controllable Threshold, Ratio, Attack, Release, Parallel compression and level compensation settings.
Sidechain functionality is optional. LF and HF reduction responses control HP and LP filter activity in the sidechain to reduce or increase the response of high and low frequencies in compression processing.
Tonal shaping gives control over the frequency and level of filtering in the Low and High bands.

Saturation is a gradual distortion of the signal, an effect that can change the sound of your mix and tracks, adding a subtle form of distortion that adds harmonics to your signal.
Character settings give width and monogize effect control of the compressed signal.
Attack and Release curves help control parameter smoothness.

The compressor’s Parallel mix, and the main device Mix give complete control over the mix.
 Try out DRWCMP78, the easy-to-use stereo buss compressor with configurable character settings, distortion value and shape control, which helps you find your favorite combination for the mix.

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 Controls

Input Level: Controls the gain level of the incoming unprocessed (dry) signal

Sidechain Level: Controls the gain (modulation) level of the incoming control signal from the sidechain input
Threshold: Sets the audio level above which compression is applied
Ratio: Amount of gain reduction to apply; sets the degree of compression from 1:1 (no compression) to 4:1 (moderate compression), 8:1 (strong compression), 10:1 (approaching limiting)
Attack: Controls the reaction time it takes for gain reduction to increase when the signal level rises
Release: Controls the reaction time it takes for gain reduction to decrease when the signal level fails
Adjust Compensation: Adjust the output volume to compensate for any loss in level due to compression processing
Parallel Mix: Mixes wet (processed) compressor output signal with a dry (unprocessed) input signal. Helps to make parallel compression technique
LED Meter: Meter display shows the gain reduction level and compressor response time
Saturation Level: Sets the amount of drive (gradual distortion from subtle sweetening fx to gritty distortion), adding harmonic distortion to the band signal
Character Width: Adjust character of stereo width using a Mid/Side matrix (no effect on the mono signal)
Character Monogize: Frequency below which stereo width will be reduced to zero.
Attack Curve: Attack curve smoothing
Release Curve: Release curve smoothing
Engine Mode: Switch between the Envelope Detector Engine modes, how the envelope detector tracks the signal level.
– PUNCH: Follow the envelope below the threshold, which increases the attack punch as the envelope has further to come back up.
– FAST: Normal envelope detection with fast attack and release.
– SMOOTH: Release slows down as the signal falls below threshold.
Shape LF: LF sets Low Frequency values in Shelf mode (60/125/250/350/500 Hz) or Bell mode (200/300/400 Hz) to Low band. Controls the pumping/ducking effect of the Low band.
LF Level: sets bass band-shaping control.
Shape HF: HF sets High Frequency values in Bell mode (3/4/5/6 kHz) or Shelf mode (2/4/8/16 Hz) to High band.
HF Level: sets specific high band shaping contriol.
LF/HF Reduction Response: HP & LP filters in the sidechain to reduce or increase response of High/Low frequencies
Mix: Switch between the default “Linear” and “Parallel” (each band includes dry/wet control) modes
Output Gain: Controls the gain level of the processed (wet) 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

$ 25

Flexible Punchy Dynamic VCA Compressor
Inspired by known Compressors in pedal form-factor
Creates cohesion and punch in your mixes

NEW

FLEXACOMP is a flexible punchy dynamic compressor, inspired by the well-known series of VCA hardware compressor pedals (Dynacomp™) from MXR® and it’s modifications.
The wide range of Attack & Release times with Ratio (from 1:1 up to 20:1) gives it flexibility for use with various instruments, such as bass, guitar, synthesizers, drums and vocals.

What is the VCA compressor?

Like the SSL Bus Compressor and many others, which uses a VCA chip, so the envelope and ratio works in dB, not linear voltages.
VCA is a “Voltage Controlled Amplifier”. And it works in a compressor as an attenuator (turns the signal down when it’s fed a certain control voltage).
VCA usually has main (carrier) and control (modulator / sidechain) signals.
When the control signal level changes, the “curve” of how it gets to the wanted gain reduction is different. FlexaComp compressor, a VCA compressor, includes the sidechain with a level detection circuit (with configurable envelope detector).

Main Controls

FLEXACOMP as ultra compressor, includes 5 compressor modes:
Flexa (modern flexible VCA punchy compressor with a wide range of parameters),
Dyna (inspired by a well-known Dynacomp™ pedal by MXR®, with static Attack and Release values),
Ross (known modification of Dynacomp™ by MXR®, with controllable Release and limited Ratio range),
KillyPro (inspired by Keeley® Compressor Pro™ pedal, based on Dyna/Ross™ comp modifications curcuity),
KillyBass (inspired by Keeley® Bassist™ compressor)

Each compressor mode is based on its own parameters range and has its own compression character, but present as a dynamic VCA compressor.
The heart of this compressor is a Sidechain Envelope Detector, that makes FLEXACOMP the ultimate production compressor.
The internal Envelope Detector circuit block is based on 3 main (Punch, Fast, Smooth) modes and includes Low Frequency & High Frequency detectors, Attack & Release detectors. All these settings help to make a flexible punchy compressor. Use it with configurable envelope detection for additional Attack/Release smoothing and shaping in compressor processing.

Try out FLEXACOMP, the easy-to-use flexible dynamic VCA compressor with configurable envelope detector, based on the most-known compressor pedals.

If you are going to have one mix buss compressor that needs to cover a lot of different sounds, then a stereo VCA compressor is a smart choice.
FLEXACOMP as VCA compressor, creates cohesion and punch in your mixes.
It can sound transparent like the SSL® Bus compressor™, API® 2500™ and other big VCA brothers, but also like pedal VCA compressor legends, based on Dynacomp™ modifications.

$ 39

25 Classic spaces & well-known hardware algorithms
Parallel & Feedback processing with Shift & Delay
Tone Edit, Pitch Mod, Time scale at Low Frequency

NEW

THNDRVERB is a flexible algorithmic reverb processor for your personal needs for room shapes with various reverberation types. This is your new Reverb-companion effect for Reason Rack.

The main section of this device is the ALGOVERB section. It includes 25 categorized reverberation modes from classical rooms and halls to various places and well-known hardware reverberation algorithms. It includes Rooms, Halls, Plates and Places. All ALGOVERB reverberation modes are algorithmic reverberations, no one IR impulse is used.

ALGOVERB can be used in Main Only mode (when all other sections is disabled), or in Parallel and Feedback modes with the next sections: Main & Feedback Tone, FeedVerb, FeedShift and Magnet 8- Head Tap Delay.

The TONE section helps to improve your signal for the Main and Feedback routing with Low/Mid/High settings like Mid EQ, LP & BP filters, control of reverb time scale at Low frequencies, progressive loss of high frequencies at the reverb tail.

FEEDVERB section is an additional Reverberation section for Parallel or Feedback signal processing. It is based on 7 algorithmic reverberation types with High frequency Tone loss at FeedVerb tails, Mid band EQ and Pitch-Modulation of the reverb for a richer sound.
FEEDBACK Warning! If you listen the Oscillation of the Feedback, quickly turn the Feedback level down. Always be accurate with Feedback level control.

The FEEDSHIFT section works like a Feedback Pitch & Formant Shifting. It includes Linked or individual L/R channels, pitch shift control by semitones, Formant shift with keytracking control, frequency quality and latency control of the shift changes, and FREEZE Loop (freeze the current spectrum).

The MAGNET section is a 8-Head Tap Delay with feedback, time and 1-8 Head level control, that helps to create your own rhythms and textures.
The LIMITER section includes limiting signal recovery time control with Drive maximizer up to 60 dB, to compensate for any device section levels or adding some drive.

$ 19

Inspired by UREI™ 560 Feedback Suppressor
4 Notch Filters / 4 Bell EQ bands modes
Corrects resonances, sound coloration, room sound

FREE

The quality of amplified sound in a room depends not only on the microphone and loud speakers, but also to a large degree on the acoustical characteristics of the room. Sound is reflected by walls . Various frequencies are reflected in different amounts. Peaks in the frequency response cause a coloration of the original sound. This condition is marked by ringing and feedback.

Ringing is a prolongation of the reverberation time for those frequencies which are approaching unity gain.
Feedback is an oscillation at the frequency where loop gain exceeds unity.

The main ideology of acoustic resonances is improvement of the sound quality, better intelligibility of speech, more sound level through higher gain.
NOTCH FILTER: Effect unit includes four notch bandpass filter sections, which are identical. The filter type is SVF (State-variable filter).

The FDBKSPR650 effect unit is inspired by the original UREI™ Feeback Suppressor * effect device and includes additional functions, like additional BELL EQ mode.

Feedback Suppressor Notch Filter / Bell EQ can be added to the signal chain to reduce the microphone “proximity” effect and suppress any remaining high Q resonances. Also, one of the main functions is to improve gain before feedback.

Four Notch bandpass filters or four Bell EQ bands help finally to tweak incoming signal to minimize sound coloration, fight with feedback situations, and can fix resonance peaks.

Try FDBKSPR650 feedback suppressor effect for Reason rack right now.

$ 15

Inspired by booster pedal from Darkglass™
Sculpt & boost your Bass signal before the Amp
Modern Clean Bass Preamp

FREE

HARMBOOST is a special clean and harmonically rich preamplifier for Bass guitar.

Character knob blends amount of the tone-shaping, controls frequency response.
Bass mono sets frequency below which stereo width will be reduced to mono.
Bass, Mid and Treble knobs control signal equalization.
Mid-frequency knob sets frequency from 250 Hz up to the 2.5 kHz.
Boost knob sets final flat gain in range +-20 dB cut or boost to sculpt your perfect bass signal.

HARMBOOST is an easily controllable and flexible clean bass preamp inspired by the modern Bass Preamp pedal (Harmonic Booster) from the Darkglass™ .

Try out HARMBOOST now as the modern known bass preamp in your Reason Rack

BASS: cuts or boosts low frequencies (+/- 20 dB)
TREBLE: cuts or boosts high frequencies (+/- 20 dB)
MID: cuts or boosts selected mid frequency (+/- 20 dB)
MID FREQUENCY: sets mid frequency from 250 Hz to 2,5 kHz

BASS MONO: Frequency below wich stereo width will be reduced to mono

CHARACTER: Blends amount of the tone-shaping, control frequency response.

BOOST: Sets final flat gain +-20 dB cut or boost

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

$ 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.

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.

DRWCMP78

Main Controls

Input Level: Controls the gain level of the incoming unprocessed (dry) signal

FLEXACOMP

What is the VCA compressor?

Main Controls

THNDRVERB

FDBKSPR 560

HARMBOOST

BNDP556

BASSPUMP

MacroAmp

CLEANBOOSt

STUDIOCOMP

Main functional

GAIN REDUCTION METER

COMPRESSION

LIMITING

Who is Turn2on

Why Rack Extensions?

Rack EXTENSIONS

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