Any others out there using more than one compressor?

[willsellout]

I use a Broughton Monocomp early in my chain for tone magic and an Empress Bass Comp at the end of my chain. I can say things sound better with them both on.

I do the same only with the Alma comp first. My dirt pedals like it.

 

[superheavyfunk]

I have two compressors on my board but I don’t use them both as a compressor, per se. I start with an OptiFet which is always on. A little later down the line, I have an accountant which I use as an actual effect to add squish and mild drive when needed in certain situations.

In my experience, most sound people in the venues I play and most engineers in the studios I’m hired to record in, apply additional compression as they see fit. While I 100% see how two (or more) stages of gentle compression can add a lot of character, I’ve never found a need to do this myself on my board.

 

[scott sinner]

Not all the time. But I have a ‘protect my speakers’ Spectracomp set as a low frequency especially limiter. It usually isnt doing anything, though it is always on, because the threshold is so high. It is there for the sheer amount of chaos I can conjure up with the Empress Zoia.

I also have a Darkglass Hyperluminal which I use more in your conventional compressor way. But that is not always on.

 

[Thegreatzambini]

Yep I’ve been experimenting with that

 

[REV]

I have a Berg Forte with the compressor and I have an EBS Multi Comp on my pedal board so I guess I do. They sound awesome together.

 

[JeezyMcNuggles]

I have found that I really like having 2 compressors running at the same time. It seems to give it almost a tubey goodness. My current setup is my active 6 string into a Markbass Compressore into a Broughton HPF/LPF into my Eden WT400 with the onboard compressor engaged, EQ set flat with 1-2 clicks of bass and enhance at 9:00, going out to my Epifani UL210 and UL112. Any others out there doing this? Any recommendations as to how I have this setup or settings for the MB Compressore? Tried this as an experiment and really liked the outcome.

I have a Duncan studio bass right after my tuner. I like it for its "you can't tell it's on" qualities. It's always on.

Then, I use a an ampeg opto comp after that. I switch it on to get the quick, heavy catch that it does. Gives a nice little thump when it hits. Only step on it for that.

Then, after everything, my amps compressor is always on slightly too. Evens things out when the effects are going strong. Keeps my preamp clean. It really only lights up with my synth pedal. Sub lows.

 

[Kerem Koseoglu]

I used to have a light compressor at the beginning of my chain + a hard limiter at the end of my chain. But I removed the limiter since I purposefully installed pedals increasing my signal level.

I have to turn those pedals off / on during the soundcheck to ensure that I'm not peaking or ruining anything, but that's about it.

 

[Mk90]

I have the Ultrawave first in line and a limiting compressor at the end. Ultrawave does most, sometimes all the things I need. Limiting happens after envelope filters and other rough stuff.

 

[Thumpin6string]

Any opinions as to the order of the first comp and the HPF/LPF?

 

[Derek Williams]

Any opinions as to the order of the first comp and the HPF/LPF?

General rule is HPF first, and LPF after any drives. For your case, I’d probably put it first to reduce the extra frequencies your first compressor has to handle.

 

[Thumpin6string]

General rule is HPF first, and LPF after any drives. For your case, I’d probably put it first to reduce the extra frequencies your first compressor has to handle.

Thanks. I'll give it a try.

 

[smeet]

I use 2 in my practice rig. Usually a Cali76 Master Deluxe first in line then a LA-1A second to last (before preamp).

I use a Cali76 CB at the start of the chain and an Effectrode PC-2A at the end.

 

[JimmyM]

Closest I ever got was running a comp into a tube amp running clean. I don’t run a comp anymore, though. I don’t suppose that counts, does it?



I have to ask, though…what does running two comps do that can’t be done with one?

 

[Nashrakh]

On question I have is if the MB comp should be in front of the HPF/LPF, like I have it, or after it?

In my experience, using a combination of the Compressore and the Broughton HPF/LPF, I like the HPF in front of the Compressore because the comp reacts very strongly to bass frequencies; putting a filter in front of it helps to even out the compression by reducing trigger frequencies.

I've experimented using two compressors but found it was too much. I've tried using a dirt simple BBE Optostomp first in the chain before my OC-5 and C4 because the tracking likes a smooth signal, the Broughton HPF behind it, then an EHX Hot Wax for (optional) dirt and the Compressore last as a sort of glue compression.

I'll have to experiment with it further, but I found no substantial advantages in using two. I am sure it's because of my settings, though.

 

[2112]

When I invoke my Tech21 MP40, it has a EBS Multicomp 3 after it to tame it and keep it fenced in. This would be in addition to my base bass tone, which invokes an MXR M87.

 

[Mk90]

A compressor with enough leds for good metering is what has sold me to using two. I feel like I always want a compressor somewhere near the start of the chain. But after seeing how much more the limiting compressor at the end needs to do work with my settings on other pedals (that pesky envelope filter most of all...) compared to normal playing, I feel like I really don't want to hit the amp or foh desk without the limiter at the end.

Actually it seems that in the iem gigs I'm probably using three compressors because the desk will have one too!

 

[Derek Williams]

Closest I ever got was running a comp into a tube amp running clean. I don’t run a comp anymore, though. I don’t suppose that counts, does it?



I have to ask, though…what does running two comps do that can’t be done with one?

I run both of mine with a light amount of compression. Thresholds are set a bit differently, and with their attack/release characteristics being different it also means they aren’t both compressing at the same times. The result is a more natural, less compressed feel.

The two I primarily use also have an effect on tone, which I like.

I also have a Source Audio Atlas in my chain, it’s normally off unless I want some “real” compression. It’s the best pedal I have at actual compression, but I usually don’t need it.

 

[_Tay_]

I have a Source Audio Atlas, I pretty much have models of every type of compressor ever made at my feet in the only tiny box. It also allows me to blend between several compressor types and its Stereo with up to two compressors per channel.

Like the morph feature on the ultrawave GMC??

 

[swarfrat]

I have to ask, though…what does running two comps do that can’t be done with one?

This post is buried in a Behringer thread, but it is a real gem and deserves its own notoriety. I doubt I would ever buy two pedals to use, but I use it often if I'm working with a stereo compressor or a modeler.

compressor setup

TL;DR is that the difference in attack and ratios lets you do some cool things. One is mild, fast, and subtle. The other is slower and aggressive but set high.

 

[davelowell2]

This is my favorite quotes about two compressors and one I think about often.

Has anyone tried a two compressor set up?


“Let's say you have a comp with its threshold at -30dBu with a ratio of 2:1. You follow that with another comp with a threshold of say -10dBu with a ratio of 4:1. When the signal is above -10dBu the ratios will add to 6:1 (medium-heavy compression), then when under -10dBu, but above -30dBu, the signal is gently compressed at 2:1.

-Frank”