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Introducing a new overdrive effect with a nice range of destruction colors. It is not just an Overdrive, but a much more complex hybrid effect for any kind of sounds.
An Overdriven signal can sound even more interesting if it uses a compressor. These days you can find a few interesting solutions with the use of guitar effects pedals. Many people find this effect very useful to destroy the signal, correcting it in a few ways, and then compressing it. ANGRYCOMP can be easily used to change the sound of a piano, pad, or other similar sound sources into a very hard sound, like a distorted guitar.
The AMP section includes complex solutions to break up your signal.
The unique MADNESS function changes the color of the sound. The Mutate knob adds distortion to the booster. The Nature knob makes the signal sounds like a real analogue and is useful with any kind of incoming instruments/samples.
The second section is the Compressor, which can work as a punchy compressor, but also has a Sidechain Mode. Sidechaining can help you to create new rhythmic lines of instrument by using other rhythmic tracks in the project as a sidechain source.
The Compressor also includes a configurable Envelope Detector section to create rules for how curves can change the sound. Unison Spectre (c) helps to create an absolutely amazing and wide sound at the device output.
This is a creative effect that overdrives your signal, modifies the structure and color of the sound, and compresses it, totally changing it to something new.
In Reason, you can create your own alternatives to this effect device by routing other overdrive and compressor units together, but it will not have same result.. ANGRYCOMP is an original and unique complex solution for building new sounds out of the box.
BOOSTER: Boost incoming signal from clean boost to powerboost, add some distortion at zero-pont
TONE: Option of boost for specific frequency
PRESENCE: Option to control high frequencies
MADNESS: Special mode of bosster, create more powerful low frequency sound
HARDNESS: Gain of distortion
RECTIFY: Convert negative signal peaks of distortion to positive peaks
MUTATE: How much HARDNESS is mixed to the BOOSTER effect
NATURE: Sounds like a real analogue. Useful with any kind of incoming instruments/samples. A Complex effect with restructure signal to more useful sound of booster and distortion.
LOW CUT: Highpass filter before Hardness / Cut Low frequncies
HIGH CUT: Lowpass filter before Hardness / CutHigh frequncies
WARM SPECTRE: Shift phase and frequency to add more Warm Spectre (c) sound
ACT / SOFT BYP: Enable / Bypass AMP section. Soft bypass
ACT / SOFT BYP: Enable / Bypass COMP section. Soft bypass
RATIO: Amount of gain reduction to apply
THRESHOLD: Audio level above which compression is applied
GAIN: Volume to compensate for any loss in level due to compression
ATTACK: Time for gain reduction to increse when signal level rises. Snappy sound
RELEASE: Time for gain reduction to decrese when signal level falls. Lively sound
SLAM: Boost compression ratio so much that the output gets quieter as the input from AMP section gets louder
COMP/INPUT: Mixes Compressor output with input signal from AMP
UNISON: Widening x-times UNISON Spectre (c) effect for overdriven/distorted and compresed sounds
- PUNCH: Follow envelope below threshold, which increases attack punch as the envelope has further to come back up.
- FAST: Normal envelope detection with fast attack and relese.
- SMOOTH: Release slows down as signal falls below threshold.
DETECTOR HP Filter: Highpass filter in Sidechain, reduce response to low frequencies
DETECTOR Hi Boost: High frequency boost in Sidechain, reduce response to high frequencies
DETECTOR RELEASE: Additional Release smoothing in the envelope detector
DETECTOR ATTACK: Additional Attack smoothing in the envelope detector.
Examples of use Detector:
- For an average rather than peak response, set ATT and REL to the same value around 20ms.
- For additional release smoothing and shaping, leave ATT at zero and increase REL
Sidechain compression effect input. If Sidechain is connected, but the mode of the compressor is Compression, you have an additional linear input.
When any signal is connected to the Sidechain input and the compressor is set to Sidechain, you get a Ducking effect.
- A Synth plays its own line and is connected to the Audio Input.
- Drums play their own rhythms, with the kick-drum connected to the Sidechain Input.
- The Synth signal will automatically duck its volume when the kick drum plays, letting the kick sound come through in the mix. On an active kick-drum hit, the synth signal is dropped out momentarily. Then after the kick-drum hit is finished, the synth signal returns to its original volume.
If you connect a full drumline to the Sidechain input, your synth line will repeat its rhythms as dropouts.