why do compressors improve slap tone?

[sir juice]

I slap a fretless, and I can only seem to get good tone with a compressor. However, is it possible to get these positive tone effects without the lack of volume modulation. This is where a lot of my expression comes out.

Thanks

[prsbass]

Can you elaborate a little more?
I use compression all the time because it seems I get a better punch, keeps my pedals in check, reduces unwanted noises and gives me a smig of overdrive. I don't slap much but when I do I use a clean boost after the compressor because my slap technique seems to get lost in the mix and a tiny bit of boost brings it back up.

[Swift713]

I don't know, I'm not sure how well I really understand compression, but maybe try dialing your compressor back a little. You should ideally be able to find a balance that still leaves you some dynamic range. I'd ask Bongomania.
I've been without my multi effect for about a week and I'm rediscovering a whole world of dynamics that compression was hiding. I guess you just have to play that much more dynamically.

[Asa Samuel]

Wheres bongo when you need him?

[Swift713]

tick tick tick tick tick tick...
(looks at watch, taps foot)
tick tick tick tick tick tick tick....

[SFjonstarr]

What kind of compressor are you using? Is it a simple one built into an amp with one control or something separate with more knobs? Compressors just pull back the peaks above your theshold setting. They tend to work well with slap playing because your volume is more steady over the course of a sustained note. When you slap without a compressor you get a big strong peak right when you hit a note that dies down to a comparatively quieter level right after the initial attack. If have a couple of dedicated controls (ie theshold level, compression ratio, make up gain) you should be able to dial in a setting that gives you the benefits of compression without totally squashing your playing dynamics.

[bongomania]

Originally Posted by sir juice

I slap a fretless, and I can only seem to get good tone with a compressor. However, is it possible to get these positive tone effects without the lack of volume modulation. This is where a lot of my expression comes out.

Sorry I'm late, I was just installing a compressor in the bass rig on Air Force One and it took rather a while to explain how compression works to the President.

In your case, I'm not sure what you mean by "is it possible to get these positive tone effects without the lack of volume modulation"... I suspect there's a double negative there. Are you asking whether it's possible to gets the tonal benefits of compression without actually compressing your peak levels?

If so, then the answer is "not exactly, but sort of". Most of the tonal benefit of any compressor is in the way it allows you to turn up the level of the quieter parts of your sound without increasing (as much) the peak levels of the louder sounds. Doing that increases the amount of harmonic content near the RMS (average level heard) of your sound, and that increase in harmonic content sounds "fatter" or "fuller" or "richer" to our ears. Basically it concentrates the levels of all the subtle aspects of your signal into the range of levels that we hear "better".

Especially when slapping, as the peaks from that are so high/hot that we have to turn down the input gain on our amps, which results in a loss of a lot of the more subtle harmonic information. The RMS has gone way up, so we don't hear the quieter stuff. Using a compressor lowers the peaks, and thus brings the RMS back down to a level that includes more of your tone in your hearing range.

One solution is to master your slapping technique. A really expert slapper can slap/pop at the same output peak levels as their fingerstyle playing, which keeps the average levels in more of the right range.

Another solution is to set up your compressor with a low threshold and a low ratio, so your RMS levels are managed somewhat but your dynamics are not so audibly altered. Compression is all about compromises, honestly. And to a certain extent, dynamics are over-rated. "I play dynamically" often means "I have no control over my own signal levels when playing". I'm not saying that's you, it's just something to consider.

[syciprider]

I play dynamically.

[ErnieD]

[quote=bongomania;4975024]Sorry I'm late, I was just installing a compressor in the bass rig on Air Force One and it took rather a while to explain how compression works to the President.

Doing that increases the amount of harmonic content near the RMS (average level heard) of your sound, and that increase in harmonic content sounds "fatter" or "fuller" or "richer" to our ears. Basically it concentrates the levels of all the subtle aspects of your signal into the range of levels that we hear "better".

Im sure Im wrong technically, me and Dubbya both, cause you are the compression czar, IMHO BongoMan. But this description you give above is what I feel my BBE maximizer processor does for my sound in my rig though I know it does not serve the same purpose. Ive been told that a compressor will only squash my tone, so Ive not tried one but would like to for the benefits it could serve, safety wise.

Oh and Bongo, you should've closed with (hands on waist)
"I won't let you down again Lois"

[Basshole]

Originally Posted by bongomania

Sorry I'm late, I was just installing a compressor in the bass rig on Air Force One and it took rather a while to explain how compression works to the President.

It's easier if you draw little pictures for him. Besides, I think he likes all the pretty colors. Of course, it's always best to keep it to 1 and 2 syllable words...

[niftydog]

This whole concept of dynamic playing and compressors being mutually exclusive is complete bubkiss, IMO. Set your compressor correctly and you should have no trouble retaining the dynamics of your playing.

[bongomania]

Yeah, but it's all in how people interpret the word "dynamic". For example, I can set a compressor to completely squash my signal to a tiny amplitude range, and play with a wide range of dynamics, where the output result includes all of the tonal changes, fret noises, grindiness, fingerprints-rubbing-against-strings, etc. of the gentlest to the most aggro dynamic playing but all at one "volume" level. Is that dynamic, or is it only dynamic when my playing goes from quiet to loud? Rhetorical question, as it's down to what the person listening wants to hear. Also of course there's the question of "how quiet" to "how loud" is appropriate/needed for the gig, the recording, the amp, the sound desired.

In short I agree that it's bupkiss, but with caveats around "why" and the intended result of the dynamics.

[niftydog]

"Yeah, but it sounds like 'BZZZZZOOOOOOUUUURRRRRKKKKWWWWWAAAZZZOOOO' whenever I step on the gas. Surely you know what's causing that!?"