This is the first of three sets of commissioned demos for the WMD Compressor – a product whose beta-testing and development stages I was involved in.
These first demos all use the same drum loop, in order to provide a clear example of the compression modes being used. This was intentionally repetitive, as often compression differences are very subtle.
Further demos, demonstrating the WMD Compressor’s more creative uses, will be published soon
DEMO 01 – RMS Compression
This demo contains one recording which comprises: 4 bars DRY, alternating with 4 bars compressed.
Each time it reverts back to the compressed signal the RATIO has been increased and the THRESHOLD lowered (more compression each time)
Settings were RMS, Hard Knee, with pretty fast Attack and Release.
DEMO 02 – Input Saturation
This demo shows off the INPUT Saturation.
Settings are RMS, Hard Knee.
There is a gap of 1 bar between each recording.
The first recording has 4 bars of DRY, followed by 4 bars with INPUT SATURATION engaged to a moderate degree, followed by 4 bars with INPUT SATURATION engaged to a higher degree.
The second recording has 4 bars of DRY, followed by three sets of 4 bars, each with lots of INPUT SATURATION, but each time with increasing RATIO and lowered THRESHOLD settings (more overall compression).
DEMO 03 – Output Saturation
This time we’re looking at the OUTPUT saturation available.
Settings are RMS Compression, HARD knee.
There are gaps of 1 bar between each recording.
The first recording has 4 bars of DRY, then a gradual increase of OUTPUT Saturation until just before it starts breaking up into distortion completely.
The second and third recordings contain 4 bars of DRY, followed by 4 bars of compressed signal, followed by 4 bars of the same settings with OUTPUT saturation engaged.
The fourth recording demonstrates the Signal to Noise ratio when VERY heavy compression applied, along with high IN and OUT saturation settings. This was done to emphasize that a lot of the background noise/ hiss you can hear on this loop at high compression/ saturation settings is actually present in the loop itself, and not caused by the module itself. You can hear any background noise generated by the module (and my system) directly after the end of the last recording – I left it recording for a short while to demonstrate.
DEMO 04 – Detection Modes
Demo of the various DETECTION modes available.
There are FIVE different sets of recordings, with different compressor settings each time. There is a gap of 1 bar between each recording.
Each recording contains 4 bars each of RMS, ADAPTIVE and PEAK.
No Dry recording, as this is merely to compare response of the different DETECTION modes.
DEMO 05 – Mix Control
This demo introduces the MIX control.
There is a gap of 1 bar between recordings.
Each recording contains 4 bars fully WET, followed by 4 bars DRY, followed by 4 bars which are a MIX of the two..and finally 4 bars of DRY again for reference.
The first recording utilizes very fast attack and release times to crush the drums. Mixing this with the DRY signal brings up the perceived “body” of the drums, but preserves the natural sound of the DRY signal.
The second recording focuses on bringing out the attack of the drums without changing the overall sound of the DRY signal. The WET signal is virtually ALL attack, achieved by higher attack settings and extremely high compression RATIO/ low threshold.