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SCENARIOS
0
5
9
14
16
2,0
3,0
4,5
6,0
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 floor of the input signal is amplified.
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.
0
5
9
14
16
2,0
3,0
4,5
6,0
Delay Loops
Delay and compressor in a loop – does that make any sense at all? Definitively 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 specific 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 finally 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.
1
-5
-8
17
21
85
150
Threshold
Attack
Release
Ratio
13
50
-13
8,0
70
26
380
2,0
-15
5,0
100
12
600
1,6
-17
1,0
140
7
930
1,3
SC Extern
Auto Fast
Anti Log
-18
0,01
150
5
1k2
dB
ms
ms
1,0
1,0
200
260
11
9
EQ Gain
EQ Freq
GR Limit
90
13
3,0
52
450
15
5
4,5
36
700
17
3
6,0
28
1k3
19
1,5
On
x10
On
Lo
Hi
26
2k2
21
0
dB
Hz
dB
-5
-8
17
21
85
150
Threshold
Attack
Release
Ratio
13
50
-13
8,0
70
26
380
2,0
-15
5,0
100
12
600
1,6
-17
1,0
140
7
930
1,3
SC Extern
Auto Fast
Anti Log
-18
0,01
150
5
1k2
dB
ms
ms
1,0
1,0
200
260
11
9
EQ Gain
EQ Freq
GR Limit
90
13
3,0
52
450
15
5
36
17
4,5
700
3
6,0
28
1k3
19
1,5
On
x10
On
Lo
Hi
26
2k2
21
0
dB
Hz
dB
5,0
10
-0,3
-1,0
-2,0
-3,0
1,2
-4,0
1:X
4,0
6,0
Gain
3,0
2,0
10
1,0
13
0,5
17
0
20
dB
Left
Link
Right
5,0
10
-0,3
-1,0
-2,0
-3,0
1,2
-4,0
1:X
4,0
6,0
Gain
3,0
2,0
10
1,0
13
0,5
17
0
20
dB
Left
Right
Link
-5
-8
17
21
85
150
Threshold
Attack
Release
0
13
50
5
-13
8,0
70
26
380
9
-15
5,0
100
12
600
14
-17
1,0
140
7
930
SC Extern
Auto Fast
Anti Log
16
-18
0,01
150
5
1k2
dB
ms
ms
1,0
1,0
200
260
11
9
EQ Gain
EQ Freq
GR Limit
2,0
90
13
3,0
3,0
52
450
15
5
4,5
4,5
36
700
17
3
6,0
6,0
28
1k3
19
1,5
On
x10
On
Lo
Hi
26
2k2
21
0
dB
Hz
dB
-5
-8
17
21
85
150
Threshold
Attack
Release
0
13
50
5
-13
8,0
70
26
380
9
-15
5,0
100
12
600
14
-17
1,0
140
7
930
SC Extern
Auto Fast
Anti Log
16
-18
0,01
150
5
1k2
dB
ms
ms
1,0
1,0
200
260
11
9
EQ Gain
EQ Freq
GR Limit
2,0
90
13
3,0
3,0
52
450
15
5
4,5
36
17
4,5
700
3
6,0
6,0
28
1k3
19
1,5
On
x10
On
Lo
Hi
26
2k2
21
0
dB
Hz
dB
5,0
10
Ratio
-0,3
2,0
-1,0
1,6
-2,0
1,3
-3,0
1,2
-4,0
1:X
4,0
6,0
Gain
3,0
2,0
10
1,0
13
0,5
17
0
20
dB
5,0
10
Ratio
-0,3
2,0
-1,0
1,6
-2,0
1,3
-3,0
1,2
-4,0
1:X
4,0
6,0
Gain
3,0
2,0
10
1,0
13
0,5
17
0
20
dB
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