Dirty dozen
brutal sound-mangling in mind – see Distortion
styles for more details. Two routing schemes determine how the input signal is fed into the Engines: in Multiband mode, they work in parallel, with each band processing its filtered input signal and all three mixed at the output. In Series mode, the input goes through the High band, then the Mid band, then the Low band, which outputs the end result. The practical difference between the two is that in Multiband mode, tweaking the parameters of a given distortion engine only affects the sound of that band, whereas in Series mode, sonic changes made to one band are fed into the next. In a nutshell, Multiband mode gives you surgical control over the distortion across the frequency spectrum, while Series mode is far more ‘blunt’, piling the distortion onto whatever remains of the signal at each stage. The mixed or cumulative output from the distortion engines feeds into a resonant filter, which is where Kombinat’s biggest functional change has been made. We now have 12 filter modes to choose from, expanding enormously on the 12 or 24dB low-pass of Kombinat Dva. This range of models takes in all 11 modes of Audio Damage’s new Grind plugin (see p97), which include all the HP/LP standards, plus MS-20 HP/LP models and the algorithms from AD Filterpod and 914, and adds an MS-20 band-pass. It’s a veritable playground of quality analogue filter emulations, from super-smooth to wild, edgy and self-oscillating.
The Kompressor knob lowers the threshold on a fixed compressor (1000:1 ratio, 5ms attack) from 0 to -30dB as it’s turned clockwise. After that, an envelope-following feedback circuit can be dialled in with the Feedback Amount knob, the response of the envelope follower timed using the Attack and Decay parameters. Audio Damage describe this particular feature as “somewhat experimental”, and we can see why – it’s an unpredictable effect, but adding satisfying bite and movement when it works.
At the very end of the line, the new Mix control sees Kombinat at last able to blend dry and wet signals. About time, too.
Third time lucky
Although a relatively minor step up from Kombinat Dva, Kombinat Tri’s new filter modes and wet/dry mixing add significantly to the plugin’s creative potential. A bit of filter modulation wouldn’t go amiss, however, and while we love the groovy level meters (Input, Output, distortion Engine and Kompressor gain reduction), they could perhaps do with value scales. But those are blips in another otherwise flawless showing – crucially, Kombinat Tri’s distortion algorithms and filters sound superb, and are wonderfully colourful and responsive.
For the artful toughening, transformation and decimation of drums, basses, guitars, vocals and electronic sources of all kinds, and bringing a powerful live mixing element to the DJ booth, this is an effect that every producer and laptop jock should own. www.audiodamage.com
“We now have 12 filter modes to choose from, expanding enormously on the 12 or 24dB lowpass of Kombinat Dva”