Warm Audio WA-2A Mode D'emploi page 9

A WORD ON THE T4B MODULE
We feel that there is no T4B module finer than those made by Kenetek, and we are especially proud to offer this high end
module in our WA-2A. However, for those who wish to experiment; we have built our unit in accordance with the standard
octal socket and wiring configuration used for optical compressors for the past half-century. If you have an old stock T4A,
T4B, or T4C module that is in good working order, or a new one made by another manufacturer; you may install it in the
WA-2A to experiment with different types of modules. Though they all have the same general traits,
each have their own slightly distinct characteristics as far as attack, release, knee, and threshold.
SERVICE DISCLAIMER
As with all high voltage electronics, all service or modification should be referred to qualified service personnel
only. The WA-2A should be disconnected from mains power and given time to fully discharge before attempting
service or modification. Aside from vacuum tubes and the T4B module, there are no other aspects of the
WA-2A which are subject to modification; and service should be referred to a qualified service technician.
WAXING PHILOSOPHICAL
Probably no area in the technical side of music production is more hotly debated than the subject of dynamics control
(compression). The so called 'loudness wars' , which began far back in the era of vinyl, reached a fever-pitch by the
turn of the century at the height of the Compact Disc; and both engineers and developers sought more ways to restrict
dynamics at every stage of production, from tracking to mixing to mastering. Experts have called compression the
enemy of music, while others have claimed dynamic range itself to be the enemy. In the end, both answers are right; for
both dynamic restriction and the lack thereof can be quite detrimental to a finished production. Whatever side of the
fence one may be on; it can be generally agreed that having quality tools for dynamic control when needed, as well as
having the skill to use these tools with good judgment, is vitally important. There are certain styles of music production,
such as jazz and classical, where the use of EQ and compression are extraordinarily sparse, if used at all. For almost
everything else, however, the art of music production is by and large the creation of something that is a highly enhanced
version of reality. Most especially so with pop and rock music, an engineer's goal is to create a finished work that is in
most ways 'larger than life'; creative production decisions are often made that help lead to a cohesive and consistent
finished product, and that help to captivate and connect the listener to the music on an emotional level.
8