Audio plug-ins for music applications
        25
        Jun

        LaunchBox Effect Processor

        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.... The LaunchBox is imitation of the legendary 500-series format. All supported modules can be placed in a random order in a single compact box.

        Product details:

        At the moment the LaunchBox supports 6 modules (2 compressors, 2 equalizers, De-Esser and Colorizer), but this is not the limit, the product line will be countinuosly updated.

        Modules:

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

        • Gain — controls output level;
        • Program — the name of the program means in which country device frequency characteristics were taken;
        • 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 Renge 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 in the 500-series format. Module encompasses individually controllable Threshold, Attack, Release, Makeup Gain, Ratio and RMS/Peak-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 of 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 or to its 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 kHz to 40 kHz). 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 — allows the user to bypass the Parametric Eq for «before/after» comparisons.

        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 clockwise will mix the original signal with the compressed signal. 0% — means that the signal is 100% unprocessed, 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 API 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.

        Contact

        CUSTOMER SUPPORT
        support@redrocksound.ru

        RACK EXTENSIONS DEVELOPMENT
        redevelopment@redrocksound.ru

        GENERAL INFORMATION
        info@redrocksound.ru

        POSTAL ADDRESS
        Red Rock Sound
        Uritskiy st. 61, Krasnoyarsk, Krasnoyarsk Krai, 660049, Russian Federation