Rack ExtensionsAUv3 (Mac)AUv3 (iOS)VSTContact
Become a Patron!

EQ550b (iOS)

EQ550b (iOS)

These are really nice EQs, definitely worth a demo because the use case is different for sure. These add warmth and girth, and are pretty cheap.mulletsaison (forum.audiobus.us)

ModularRE Multi-Effect Processor v1.5.0
ModularRE Multi-Effect Processor
Reason Studios Shop

Red Rock Sound presents a new form-factor for the Rack Extensions — rack in the rack. A complete solution for any audio signal type, whether it be drums, vocals or a synthesizer... All supported modules can be placed in a random order in a single compact box. 

Product Details

At the moment the ModularRE supports 6 modules (2 compressors, 2 equalizers, De-esser and Colorizer)

COLORIZER combines the carefully selected frequency characteristics hardware devices of different epochs of the music industry in one module.

  • Gain — controls output level.
  • Program — the name of the program means in which country the device from which the frequency characteristics were taken is made.
  • Intensity — sets the intensity of signal processing.
  • IN/OUT switch — allows the user to bypass the Colorizer for before/after comparisons.

DE-ESSER The d8x will help you expertly tame the excessive sibilance often found in vocals and other high frequency dense material. Based upon the legendary De-Esser, the d8x unique features make it possible to achieve an exact amount of de-essing regardless of variations in signal levels. The d8x allows you to create brilliant, crisp vocals without sibilance!

  • Gain Reduction LEDs — indicate the amount of de-essing in dB.
  • Mode — allows the de-essing action to affect either the entire audio bandwidth or the high frequencies only. For de-essing it should be left in the normal mode. For «de-edging» and «de-clicking» of some instrumental material it should be put in the HF ONLY mode.
  • Frequency control — selects the frequency at which De-Esser splits the audio signal into high and low frequency portions for evaluation. The De Esser detects sibilant material by comparing (in dB) the high frequency level of an audio signal and the full bandwidth level of the signal.
  • Range control — sets the amount of de-essing effect produced when a sibilant is detected.
  • Ratio control — this control adjusts the amount of Gain Reduction applied once the signal level exceeds the set Range setting. A setting of 0% means there is no change in level between input and output, which means no dynamics processing will occur regardless of the Range setting.
  • Intensity control — sets the intensity with which the De Esser will respond to the audio signal. 100% — maximum intensity, 0% — minimal.
  • IN/OUT switch — allows the user to bypass the De-Esser for before/after comparisons.

COMPRESSOR 543 delivers the unobtrusive, musical-sounding dynamic control. Module encompasses individually controllable Threshold, Attack, Release, Makeup Gain, Ratio and Peak/RMS detection modes.

  • Threshold control — sets level where the compressor may begin to react from 0 dB to -40 dB.
  • Ratio control — sets the «slope» of the compression from 1.1:1 to 40:1. For example, if this knob is set for 3:1 then if the signal goes 15 dB over the Threshold then it attenuates 10 dB and allows the output to rise 5 dB.
  • IN/OUT button — the compressor section is engaged with this button in. This may be the most useful control on the compressor because it is there for «confidence checks». In particular, exercise it in both the quietest and the loudest sections of the song. Watch out for the compressor exaggerating noise and room sound in the quiet sections and chopping off transients and consonants in the loud sections, either of which suggest maybe too much compressor «action». Conversely, losing quiet phrases or inadvertent clipping might suggest that a little more compression is warranted keeping in mind that you can always do a bit more in the mix but un-doing over-compression is not fun and often not even possible.
  • Makeup Gain — considering the compressor’s VCA is generally being forced to attenuate louder signals some method of returning the average level to a volume comparable with the compressor bypassed is desirable.
  • Attack control — this sets how quickly the compressor reacts and starts attenuating.
  • Release control — sets how fast the compressor returns back to zero after attenuating.
  • Mix — controls the mix of dry (unprocessed) and wet (processed) signals.
  • RMS/PEAK button — this changes the compressor from essentially responding to the RMS (root mean squared) level of the audio to also responding to the PEAK level.

Do we recommend any particular compressor settings for particular instruments? No, but we will recommend that you not depend on hear-say settings and that you always listen carefully to the levels and mix values as you tweak. You can generally regard a compressor as a semi-automatic volume control and be aware of the kinds of artifacts that you would get moving a fader quickly. You can also listen for changes in tone that are probably due to altering the relative strength of transient hits and plosives that often contain more high mid and highs.

PARAMETRIC EQ module based on classic from the ’80s four-band Parametric Equalizer with ROCK BAND (shelf boost from 2.5 to 40kHz). Following its predecessors, the Parametric EQ provides unparalleled transparency and top end presence while maintaining the true natural sound behind the mix.

  • Boost only Shelf at 2.5 kHz, 5 kHz, 10 kHz, 20 kHz and 40 kHz.
  • 2.5 kHz fixed boost and cut shelf.
  • 650 Hz fixed boost and cut bell.
  • 160 Hz fixed boost and cut bell.
  • PEAK indicator light.
  • IN/OUT switch that allows the user to bypass the Parametric EQ for before/after comparisons.

The C501 COMPRESSOR module provides smooth compression associated with one of the famous compressors from the mid 80’s. Mixing engineers call it the «magic glue» when transparent compression strengthens mixes without compromising clarity. The C501 provides just that kind of compression bringing cohesion and punch; equally useful for drum bus and instrument compression. The built-in blend control makes it easy to apply parallel compression by adjusting the mix of dry and compressed signal.

  • Threshold — adjusts the level above where the signal is reduced. A lower Threshold means a larger portion of the signal will be treated. For optimal results make sure that the input level is high enough.
  • Ratio — determines the input/output ratio for signals above the Threshold. For example, a 4:1 Ratio means that a signal overshooting the Threshold by 4 dB will leave the compressor 1 dB above the Threshold.
  • Attack — setting defines the time it takes for the compressor to decrease the gain and reach the level determined by the Ratio. Faster Attack settings means better control of the transient part of the sound, but if set too fast the compressor might cut away more transients than wanted.
  • Release — setting defines the time it takes for the compressor to increase the gain to the level determined by the Ratio, once the level has fallen below the Threshold. Higher Release settings will result in a less intrusive compression with lower distortion, but if set too high the compression might not be effective enough.
  • MakeUp -12 to +12 dB of gain to balance the compressed signal level against the input signal level.
  • Wet — turning the knob clock wise will mix the original signal with the compressed signal. WET 0% means that the signal is 100% unprocessed, WET 100% means that the signal is 100% processed.
  • Bypass/Active button — engages and disengages the compressor. Should be used a lot to control how the compressor is affecting the sound.

GRAPHIC EQ module based on the 1967 classic, the 10-band graphic equalizer features precision filtering and high headroom, ideal for signal enhancement. The curve shaping potential is unmatched, while unique Proportional Q design intuitively widens the filter bandwidth at lower boost/cut levels and narrows it at higher settings.

  • 10 bands of proprietary equalization.
  • Familiar graphics operation on one octave centers.
  • 12 dB of boost/cut per band.
  • Proportional Q narrows filter Q at extremes.
  • IN/OUT switch — allows the user to bypass the Graphic EQ for before/after comparisons.

BASS ENHANCER designed for saturation harmonics of low-frequency, it creates the effect of lower, deeper frequencies. This effect can not be created with simple equalization.

  • IN/OUT switch — allows the user to bypass the Bass Enhancer for before/after comparisons.
  • INPUT GAIN — control knob for the Level of the Input Signal.
  • TIMBRE — sets the balance between Odd and Even harmonics.
  • FREQ. — this knob simply controls where the process begins in frequency domain. For example, with a setting of 85 Hz, all frequencies below 85 Hz will have Harmonics generated by the system.
  • SOLO — mute the Mix signal and Listen to the Bass signal created by Bass Enhancer.
  • MIX — sets the amount of Bass Enhancer enhancement added to the original signal.
  • H.LVL — the Level meter for the Harmonics that are created.
  • The OUTPUT meter lets you monitor the output level after Bass Enhancer processing.

EXCITER will allow you to improve and enhance sonic quality of signal more naturally than with equalization. Unlike traditional EQ that just turns up the existing harmonics, Exciter generates additional harmonics therefore there is no boost in the output signal level, this maintains a clear and balanced sound.

  • IN/OUT switch — allows the user to bypass the Exciter for before/after comparisons.
  • INPUT GAIN — control knob for the Level of the Input Signal.
  • HARM. — this knob controls the amount of generated Harmonics.
  • TIMBRE — sets the balance between Odd and Even harmonics.
  • FREQ. — sets the frequency of the high pass filter in the side chain prior to the harmonics generator. For example, with a setting of 6000 Hz, all frequencies above 6000 Hz will have Harmonics generated by the Exciter.
  • SOLO — allows you to listen to the Exciter process alone.
  • MIX — sets the amount of Exciter enhancement added to the original signal.
  • H.LVL — the Level meter for the Harmonics that are created.
  • The OUTPUT meter lets you monitor the output level after Exciter processing.


  • IN/OUT switch — allows the user to bypass the Saturator for before/after comparisons.
  • SATURATION — sets the amount of Saturator enhancement added to the original signal.
  • MAKEUP — used to compensate level for saturated signal.