Exclusive Review: BOOM Library Enrage Modular Multi-effects Plug-in

I’ll give it my best shot. Enrage is a massive, multi-processing parallel matrix array environment of audio processors, generators, and modulation sources that can create anything from subtle reverbs, choruses to more pronounced effects like beat stutters and distortion, all the way to mangling the incoming signal into unrecognizable sonic mayhem.

In short, if you ever wanted an audio processor that evolves and responds to the incoming signal in intelligent and fully customizable ways, Enrage might just be what you’ve been looking for.

Enrage works as an AU/VST/AAX audio plugin compatible with most MacOS or Windows DAW applications (note that an iLok account is required). It can be configured both as an in-line audio insert, or used as a MIDI-controlled effect in conjunction with side-chained audio or its own signal generators.

Launching Enrage for the first time can seem a bit intimidating, but upon familiarizing oneself with the basic layout, the interface quickly becomes intuitive and logical.

The main window is comprised of four color-coded sections. At the top left the blue “Control” section deals primarily with the incoming signals and how they are used to trigger the various effects (both Audio or MIDI inputs can be used). To the right we find the green “Mod Sources” section, which offers a variety of modulation sources such as LFO, ADSR, Envelope Followers, Pitch Trackers, etc. with which to modulate the various audio processors or “devices” as they are referred to in Enrage.

At the bottom is the yellow “Devices” section, in turn split into three sub-sections – a list of available devices on the left, a six-by-eight matrix in the middle referred to as the “Rack” where the devices can be dragged and positioned into either a serial or parallel signal path, and a parameters section on the right where you access and fine tune the various controls for each device.

Finally, on the right side of the user interface, the “Macros” section in pink lets you configure up to six knobs that can drive any number of parameters in Enrage and that can be accessed by the host DAW automation.  

The various “devices” available in Enrage spans a wide gamut of effects from standard to the exotic. A selection of over 40  effects covers everything from delays, distortion, compressors, choruses, flangers, pitch shifters, reverbs, and even a comprehensive audio analyzer. 

Devices can be dragged and dropped from the right side to the central Matrix Rack and inserted into the audio chain, which flows from the top to the bottom. Up to eight Devices can be stacked vertically in a rack, and up to six racks can be set up for parallel processing, MS splits, and side-chains.

Aside from the sheer breadth of effects, what really sets Enrage apart is the ability to use any number of modulation sources to add dynamic and rhythmic motion to the effects.

The various Envelope Followers, LFOs, ADSRs, Custom Curves, and even Mathematical Formulas can be dragged and dropped to modulate just about any parameter of Enrage’s devices. The modulators can even be used to modulate each other to further create sonic complexity and depth that is unmatched by any other product in this category.

For instance, while testing Enrage on an acoustic drum groove, I started by inserting a Basic Reverb into the rack. The idea was to control the Dry/Wet mix through the track’s envelope so that the louder transients would activate the reverb, so I instanced an Env Follow in the Mod Sources section and dragged the control icon (the four green colored dots) into the modulation input of the Dry/Wet knob.

Next, I adjusted the Gain of the Env Follow so that it generated a larger amount of values, and finally I tweaked the Release to create a subtle dynamically gated reverb type of result. After that, I added a Phaser in a parallel slot and drove the Cutoff with an LFO, setting the Rate Min to around .1 Hz and the Rate Max to about 5 Hz.

Lastly I used the Env Follow to drive the Rate Mod between the two values, adding more complexity to the depth of the Phaser. A Tape Delay controls the Dry/Wet value with another LFO, and then I tightened the output signal with a finishing Compressor.