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WMD Compressor – Part 3: Creative Applications [matttech]


 

INTRODUCTION

This is the final of three sets of commissioned demos for the WMD Compressor – a product whose beta-testing and development stages I was involved in. 

These demo look at the less obvious applications of the various functions available on the module, such as voltage-controlled Makeup Gain and the Envelope Out.


 

DEMO 10 – Makeup Gain Modulation 1

This time I start off with a basic pumping side-chain patch, and then gradually introduce some modulation of the MAKEUP GAIN. The modulation source is the 4ms PEG, and it is firing off punchy envelopes on 16th beats.

As the amount of MAKEUP GAIN modulation is increased (by turning up the output attenuator on the PEG’s envelope) I also change the Curve of the PEG from Exp to Lin.

Settings: The DETECTION switch is set to ADAPTIVE, and the KNEE set to HARD. OUTPUT SATURATION is on.


 

DEMO 11 – Makeup Gain Modulation 2

This demo has similar settings to the previous track – “Makeup Gain Modulation 1”) – but this time with a slower triangle shaped wave from the PEG controlling the MAKEUP GAIN, creating an additional pulsing on top of the already pumping side-chain effect.

Again, you’re basically getting some lovely voltage-controlled overdrive on top of the compression characteristics.

Settings: The DETECTION switch is set to ADAPTIVE, and the KNEE set to HARD. OUTPUT SATURATION is on.


 

DEMO 12 – Makeup Gain as a VCA

This recording demonstrates how the module can also be used as a lovely sounding vca. Compression was also applied to the signal, and OUTPUT SATURATION switched on. An envelope from Maths is used to modulate the MAKEUP GAIN.

Each recording consists of two runs through the riff, and on each new recording the output attenuator on Maths is boosted, driving the module further into the OUTPUT SATURATION. During each recording I also gradually change the curve of the Maths envelope from Exp, through Lin to Log.

Settings: The DETECTION switch is set to ADAPTIVE, and the KNEE set to HARD. OUTPUT SATURATION is on.
credits


 

DEMO 13 – Makeup Gain AM

On this recording Maths was set to cycle at audio rates, and its cycle length was modulated by the same sequence that it producing the main riff. Maths’ envelope output was then used to produce AM (amplitude Modulation) on the WMD Compressor, via its MAKEUP GAIN CV input.

The MIX control was used to gradually fade from the DRY signal to the processed one. Finally the output of Maths’ envelope was gradually increased to drive the WMD even more.

Settings: The DETECTION switch is set to ADAPTIVE, and the KNEE set to HARD. OUTPUT SATURATION is on.


 

DEMO 14 – Envelope Out to Filter Cutoff 1

This time the Envelope Out of the WMD Compressor is used to modulate the cutoff of the z2040 Lowpass filter (The oscillators are going through this before they reach the compressor).

The shape of the envelope is created by the ATTACK and RELEASE settings on the compressor, and the two elements (the compression and filter envelope) seem to gel well together, as they share the same character and shape.

Settings: The DETECTION switch is set to ADAPTIVE, and the KNEE set to HARD. No INPUT or OUTPUT SATURATION.


 

DEMO 15 – Envelope Out to Filter Cutoff 2

This is another recording utilizing the ENVELOPE OUT of the WND Compressor. This time I have set up a pumping side-chained compressor patch, and am using the envelope created by the pumping of the side-chained compression to control the cutoff of the z2040 filter.

First of all you hear the synth dry, then I bring in the pumping compression, and then I bring the filter’s cutoff down manually. After that I introduce the ENVELOPE OUT from the compressor into the CV input of the filter to control the cutoff.

I have run the Envelope Out via CV Tools, so that I can invert it when desired. About half way through the recording I do just that, and the filter’s cutoff now mirrors the pumping of the compressor. A neat trick!

Settings: The DETECTION switch is set to ADAPTIVE, and the KNEE set to HARD. No INPUT or OUTPUT SATURATION.