Patch cables ready? Let’s limit!

To make the most of the module we’ll need mixers, audio sources and modulation. As always, we strongly encourage experimentation

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Limiting is great for shaping percussive sounds. Try using the three channels as individual limiters for beefing up kicks and adding smack to snares. Patch in your sound, turn up to the desired level and patch out to a mixer to bring the sounds together.

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We can use the L-1 as a distortion, simply adding plenty of gain and driving your patches into the limiting. Take a full synth riff, drum beat or generative modular drone and patch into the L-1, turning up the channels for soft clipping and saturation.

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If one channel of gain, compression and limiting isn’t enough then try putting your sound into channel 1 and patching out of channel 1 into channel 2. Still not enough? Patch out of channel 2 into channel 3 for even more saturated brickwall action!

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We can DC-couple the channels on the L-1, making it good for sub audio modulation signals. Try putting in a simple two stage AD envelope and clip the envelope with the limiting. This is now similar to a EMS Trapezoid or an AHD shape envelope.

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Compression and limiting is great for reshaping the dynamics of effect trails and ambiences. Using a spring reverb in a patch, we can use the L-1 to compress and limit the sound of the spring reverb, allowing us to reshape the decay and overall effect.

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We have the ability to apply PWM (pulse width modulation) to anything. Mix your audio source with a slow LFO in a mixer and then DC-couple the L-1 which will now clip asymmetrically as the LFO goes positive and negative. LFO level is now PWM depth.