Manual

16
Distorted Compression
By using very fast time constants, the mpressor can also be abused to create special distortion
sounds. To do so, set the attack controller to its minimum of 0.01 ms and the release time also to
its fastest value of 5.0 ms.
Now the compressor becomes so fast that it compresses and twists almost every single wave form
separately. The result sounds similar to a distortion unit, but without the usual drawback that the
noise oor of the input signal is amplied.
If the Niveau Filter is used in its low pass position in addition, everything will start to sound in a
wonderful LoFi style. Especially bass and drums are ideal instruments for being processed in this
way.
Delay Loops
Delay and compressor in a loop – does that make any sense at all? Denitively yes, because this
combination is a truly rich source for lots of crazy sounds! In this scenario, the mpressor is placed
before a delay which is connected to an input of a mixing console. The feedback parameter of the
delay has to be set to 0, because the feedback is generated with the aux send of the specic chan-
nel of the console.
If the gain controller of the compressor is now set in a way that the delay sound becomes louder
with every repetition, it will nally fall into a feedback loop which is kept steady by the compressor.
If the Niveau Filter is used in addition to bend the frequency response, very noisy, pumping and
breathing sounds that keep changing continuously will be the result.
Very short delay times between 5 and 30 ms can even generate oscillating sounds that instantly
remind of synthesizers. Turning the Niveau Filter controllers during this process results in a shift of
the frequency response with each repetition of the delay.
SCENARIOS – Distorted Compression & Delay Loops
Threshold
16
14
9
5
0
-5 -8
-13
-15
-17
-18
dB
Attack
0,01
1,0
5,0
8,0
13
17
21
70
100
140
150
ms
Release
5
7
12
26
50
85
150
380
600
930
1k2
ms
1,2
1,3
1,6
2,0
5,0
10
-0,3
-1,0
-2,0
-3,0
-4,0
1:X
Ratio
EQ Gain
Lo
6,0
4,5
3,0
2,0
1,0 1,0
3,0
4,5
6,0
Hi
dB
EQ Freq
26
28
36
52
90
200 260
450
700
1k3
2k2
Hz
GR Limit
21
19
17
15
13
11 9
5
3
1,5
0
dB
Gain
10
13
17
0
0,5
2,0
3,0
4,0 6,0
20
dB
1,0
EQ Gain
Lo
6,0
4,5
3,0
2,0
1,0 1,0
3,0
4,5
6,0
Hi
dB
EQ Freq
26
28
36
52
90
200 260
450
700
1k3
2k2
Hz
GR Limit
21
19
17
15
13
11 9
5
3
1,5
0
dB
Gain
10
13
17
0
0,5
2,0
3,0
4,0 6,0
20
dB
1,0
Threshold
16
14
9
5
0
-5 -8
-13
-15
-17
-18
dB
Attack
0,01
1,0
5,0
8,0
13
17
21
70
100
140
150
ms
Release
5
7
12
26
50
85
150
380
600
930
1k2
ms
1,2
1,3
1,6
2,0
5,0
10
-0,3
-1,0
-2,0
-3,0
-4,0
1:X
Ratio
On x10
On
SC Extern
Auto Fast
Anti Log
SC Extern
Auto Fast
Anti Log
On x10
On
Left
Right
Link
Threshold
16
14
9
5
0
-5 -8
-13
-15
-17
-18
dB
Attack
0,01
1,0
5,0
8,0
13
17
21
70
100
140
150
ms
Release
5
7
12
26
50
85
150
380
600
930
1k2
ms
1,2
1,3
1,6
2,0
5,0
10
-0,3
-1,0
-2,0
-3,0
-4,0
1:X
Ratio
EQ Gain
Lo
6,0
4,5
3,0
2,0
1,0 1,0
3,0
4,5
6,0
Hi
dB
EQ Freq
26
28
36
52
90
200 260
450
700
1k3
2k2
Hz
GR Limit
21
19
17
15
13
11 9
5
3
1,5
0
dB
Gain
10
13
17
0
0,5
2,0
3,0
4,0 6,0
20
dB
1,0
EQ Gain
Lo
6,0
4,5
3,0
2,0
1,0 1,0
3,0
4,5
6,0
Hi
dB
EQ Freq
26
28
36
52
90
200 260
450
700
1k3
2k2
Hz
GR Limit
21
19
17
15
13
11 9
5
3
1,5
0
dB
Gain
10
13
17
0
0,5
2,0
3,0
4,0 6,0
20
dB
1,0
Threshold
16
14
9
5
0
-5 -8
-13
-15
-17
-18
dB
Attack
0,01
1,0
5,0
8,0
13
17
21
70
100
140
150
ms
Release
5
7
12
26
50
85
150
380
600
930
1k2
ms
1,2
1,3
1,6
2,0
5,0
10
-0,3
-1,0
-2,0
-3,0
-4,0
1:X
Ratio
On x10 On
SC Extern
Auto Fast
Anti Log
SC Extern
Auto Fast
Anti Log
On
x10
On
Left
Right
Link
SCENARIOS