It’s also effective for balancing parts of a patch-especially when I’m mixing field recordings and traditional synthesis. It’s an amazing tool for playing live-mostly to tame unruly resonances and feedback loops, but also to glue mixes together with light compression. At some point, I sold Streams for an Intellijel MSCL, and it’s been permanently on my mixbus since then. My emphasis is playing live and single-pass studio recording, so once I had a stereo compressor on my mix bus-it became an essential part of my workflow. I started using Mutable Streams as a stereo limiter, and that solved all my problems, and gave me a level of control I loved on my final mix. Shortly after I started out in modular, I was having issues with resonant bandpass filters ringing out (too) loudly, when hitting them with just the right resonant frequencies. Or I will sidechain the synthy bits against a sample or something that has a bit of a more chaotic signal. I often do something along the lines of sending the Low output from Three Sisters to sidechain against a sort of rhythmic or bass-y part.
#Cytomic the glue multiband Patch#
Maybe it’s too easy to overuse it though because it tends to be quite subtle… until it’s Yes, it’s the compression patch from the cold mac technical map with the output fed to a matrix mixer and then back in. The mixing and mastering aspect of compression is really interesting (and your article is very useful thank you for sharing!), but it seems like there’s a way to talk about it as part of a modular instrument, rather than only as post-processing (in this context, a guitar with a pedal board would also be a “modular instrument”). I do wonder if what I’m doing with Cold Mac is more of a sort of limiter though, since I’m not attenuating the envelope follower signal at all… It’s not an infinite ratio though, I think it would just be the equivalent of a “very high” ratio. I too enjoy the characterful compression of the SP, and I’d say the DigDugDIY Purple Rain thingy seems to have a similar feels - it seems like it helps give those their squished lofi vibe, haven’t played with either of them and I think what i really like about using it in the modular is the subtle sidechaining-not dramatically squashing dynamics but using the dynamics of one signal to “move” the whole mix a bit. I like the soundhack compand quite a bit, have been messing with it for the past couple months, the spectral compand looks cool too! I played with an Autodyne for about 15 minutes in a store once and was blown away, but otherwise don’t have much experience with hardware compressors, only really messed with compression in the box with stock plug ins and what not. Right now my go to is patching a Cold Mac as a compressor, and then sending a feedback signal to get a bit of hair on it as well. If this was true I’m guessing compressors wouldn’t sound so good on everything : ) I read someone somewhere say they don’t believe in using compression on synthesizers because it’s already compressed (I guess by the 10vpp? or just less stray transients? not certain what they meant). Even when there’s a keyboard synthesizer demo, I can’t always tell how similar that signal is to the signals I’d be sending. It’s hard for me to tell how pairing a guitar compressor pedal with my Eurorack system would sound based on youtube demos, for example. I’m especially curious to hear about people’s strategies towards using compression with electronic instruments and synthesizers because there’s a lot less written about that on the internet, compared to guitars. What’s your preferred compressor/compressor type for what purpose? Do you just use it at the mixing and mastering stage, or do you “play” with it on? In the spirit of other effect threads, I thought it would be fun to share thoughts on using compression.
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