I was reluctant to post in tis thread, since I'm an amateur hack and don't record.....but IME the Meeks comp is the best...I have both the Floor Q version and the rackmount strip (an older 6Q). IMO the best comp is the most adjustable/ tweakable.....it'll do everything from subtle evenness /barely there to a full on squishy effect....there's a learning curve for sure, but it's well worth it to me.....nice li'l bonus about the Floor Q is that it can push enough output to drive a reasonably sensitive power amp on its' own if needed.
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Compression...Did I Just Discover A Favorite Type?
- Thread starter JimmyM
- Start date
I was reluctant to post in tis thread, since I'm an amateur hack and don't record.....but IME the Meeks comp is the best...I have both the Floor Q version and the rackmount strip (an older 6Q). IMO the best comp is the most adjustable/ tweakable.....it'll do everything from subtle evenness /barely there to a full on squishy effect....there's a learning curve for sure, but it's well worth it to me.....nice li'l bonus about the Floor Q is that it can push enough output to drive a reasonably sensitive power amp on its' own if needed.
Yes. I use the Meek VC3Q and the even older but costlier Meek VC1Q. There's a whole story about who sells/designs them. Mine are Fletcher's, except the Floor Q and I also have a C2 and an MC2 that are not. I like Meek!
In direct answer to yer query, look for a VC3Q or VC3. If the VC3, there is an older and a newer model; I find the VC3Q better than the older; I've not tried the newer.
FWIW the VC6 has a good rep for recording guitars, in that I've seen a cuppla pros on various forums say so - again, I've no 'sperience there.
In direct answer to yer query, look for a VC3Q or VC3. If the VC3, there is an older and a newer model; I find the VC3Q better than the older; I've not tried the newer.
FWIW the VC6 has a good rep for recording guitars, in that I've seen a cuppla pros on various forums say so - again, I've no 'sperience there.
Thanks. I see those can be had for a couple hundred, used. I appreciate the tip!
More of an observation than whining
Lol.
This why I've tried not be a blowhard
About things I dislike.
It takes a lot of trial and error
To dial in a compressor. I use compression and limiting in some
Situations. For me it is best when
You can't tell its on.
Anyways, good discussion
J.l.mattox
A whiny observation designed to question my integrity and generally piss me off, but OK.
Ya, I'm the same way, and I've certainly gone through some with all the comps I've tried since looking again. Opto Comp was no exception. Not easy for someone who generally dislikes compression to find something he likes about it. But at least I know if I ever get another, I'm probably best off looking for optical.
I probably had 3 compressors before he was born
Uodating the thread...
Still enjoying the compressor overall, but if anything's going to be a deal breaker, it's the increased finger noise levels. I love a little finger noise sometimes. I have low action and dead rounds and they make the good slightly grindy noises when I want. But compress them and they can get a little distracting. This has been my only complaint, but it's enough of one that it's time Saturday night to give it the acid test...bringing my tube amp and ABing with and without the compression. Haven't done it yet since I was under the impression the band wanted me to bring the Micro VR head and 210 cab because it looks like a tiny SVT, but they're really just concerned about me taking up as small a footprint as possible and the mini-SVT thing was just a bonus, so the 50T's back in play. It hangs over a tad but it fits when you put slightly taller feet on it to clear the top handle. Works for The Who
Still enjoying the compressor overall, but if anything's going to be a deal breaker, it's the increased finger noise levels. I love a little finger noise sometimes. I have low action and dead rounds and they make the good slightly grindy noises when I want. But compress them and they can get a little distracting. This has been my only complaint, but it's enough of one that it's time Saturday night to give it the acid test...bringing my tube amp and ABing with and without the compression. Haven't done it yet since I was under the impression the band wanted me to bring the Micro VR head and 210 cab because it looks like a tiny SVT, but they're really just concerned about me taking up as small a footprint as possible and the mini-SVT thing was just a bonus, so the 50T's back in play. It hangs over a tad but it fits when you put slightly taller feet on it to clear the top handle. Works for The Who
I have been learning a lot over the last year about compression as it applies to recording. By using it on a full mix, it helped me get out of a bass centric view of what they do. It also helped me learn that there isn't a "best" compression type. Maybe better implementations of different types, but each is a tool for different jobs.
My experience with optical is based on software VSTs, but pretty accurate ones. The soft knee, relaxed response of the LA-2A makes it great for vocals, and I think works great on a guitar bus. I could see how a bass player that wants a little compression or limiting on their tone would like it. It probably has good synergy with tube amps, as the general response is similar. Optical comps are also usually super simple to use, with little to fiddle with. Very straightforward.
My experience with optical is based on software VSTs, but pretty accurate ones. The soft knee, relaxed response of the LA-2A makes it great for vocals, and I think works great on a guitar bus. I could see how a bass player that wants a little compression or limiting on their tone would like it. It probably has good synergy with tube amps, as the general response is similar. Optical comps are also usually super simple to use, with little to fiddle with. Very straightforward.
This was a fun and IMHO ended up a very useful thread to have someone bring back to my attention with a like, despite only one guy caring about my tonal journey by the end of the first page
But my comp journey has reached its end. I was starting to get into it again right before Covid hit, got retired for a year and a half, then did my first gig back with the Opto-Comp on with the area's top wedding/convention band doing a buttload of different styles all over the map. Got a very fine lightly compressed sound just how I like it. Then I abruptly turned it off in the middle of a set just to see what happened, and just like in 2008, I preferred it off and left it off.
So the Ampeg comp and the Boss LMB-3 are great at what they do and I'll probably find good recording uses for them on occasion, but I still would rather hear all my available dynamic range and do my best to keep it tight live, at least out of my amp. Techs can add what compression they think they need to pop the house mix, of course, but hopefully they go light on me
But my comp journey has reached its end. I was starting to get into it again right before Covid hit, got retired for a year and a half, then did my first gig back with the Opto-Comp on with the area's top wedding/convention band doing a buttload of different styles all over the map. Got a very fine lightly compressed sound just how I like it. Then I abruptly turned it off in the middle of a set just to see what happened, and just like in 2008, I preferred it off and left it off.
So the Ampeg comp and the Boss LMB-3 are great at what they do and I'll probably find good recording uses for them on occasion, but I still would rather hear all my available dynamic range and do my best to keep it tight live, at least out of my amp. Techs can add what compression they think they need to pop the house mix, of course, but hopefully they go light on me
I'm ultimately the same way when playing live. I have a nice optical compressor I always think I like the sound of...until I turn it off.This was a fun and IMHO ended up a very useful thread to have someone bring back to my attention with a like, despite only one guy caring about my tonal journey by the end of the first page
But my comp journey has reached its end. I was starting to get into it again right before Covid hit, got retired for a year and a half, then did my first gig back with the Opto-Comp on with the area's top wedding/convention band doing a buttload of different styles all over the map. Got a very fine lightly compressed sound just how I like it. Then I abruptly turned it off in the middle of a set just to see what happened, and just like in 2008, I preferred it off and left it off.
So the Ampeg comp and the Boss LMB-3 are great at what they do and I'll probably find good recording uses for them on occasion, but I still would rather hear all my available dynamic range and do my best to keep it tight live, at least out of my amp. Techs can add what compression they think they need to pop the house mix, of course, but hopefully they go light on me
The funny thing is that I record and mix my own music, and I use a ton of compression there. On bass, on drums, on vocals, on the entire master bus, etc. But for some reason I never want to hear even gentle compression on my bass when I'm playing live.
