I thought the same thing! Does that mean our OCD is showing?
Surely there's a club for that here!
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Compression revelation
- Thread starter emil_fh
- Start date
Surely there's a club for that here!
Cool thread and once again, I learned something very useful from the lot of you. I haven't had success trying to use a compressor...and never really "got it". Messed around a bit this afternoon with my Zoom B3 after reading this thread and viola! Found a compressor type and setting that worked great (160 Comp which must be the dbx I think), put it in the front position in the chain, and wow, what a cool difference! Sounds great!
I'll look to get a separate comp pedal now. Seems a lot of you like the Compressore, but are there also any other suggestions? I mainly play flats on single coil and traditional P basses, along with a couple of Turner Electroline basses with TIJFs. I play a variety of blues, southern rock, motown, classic rock. Thank you!
I'll look to get a separate comp pedal now. Seems a lot of you like the Compressore, but are there also any other suggestions? I mainly play flats on single coil and traditional P basses, along with a couple of Turner Electroline basses with TIJFs. I play a variety of blues, southern rock, motown, classic rock. Thank you!
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I never thought I needed a compressor. Then I got one. Now i don't play without it.
Started off simple. I had the markbass because of the tube compression. Loved it but the extra plug and it's size changed my mind. I used a few different ones, Mxr, Aguilar, Ebs Then I heard of the Smoothie. That was the only one I could feel the difference. Honestly, I tested them all together and the Smoothie optical version really, really nailed it. I also have a Broughton Apex on my board. They serve different purposes. Smoothie up front after my Hpf. Apex at the end.
Enjoy the world of compression.
Started off simple. I had the markbass because of the tube compression. Loved it but the extra plug and it's size changed my mind. I used a few different ones, Mxr, Aguilar, Ebs Then I heard of the Smoothie. That was the only one I could feel the difference. Honestly, I tested them all together and the Smoothie optical version really, really nailed it. I also have a Broughton Apex on my board. They serve different purposes. Smoothie up front after my Hpf. Apex at the end.
Enjoy the world of compression.
Thanks! It was only after I took the picture I realised how bad it looked. It has now been properly cleaned with isopropanol and a rug.
Ha ha I'm on my second one too! It seems solidly built but my first on crapped out with fairly light use only at home. I tried a couple of the other ones, but they just didn't have that nice tube compression that the markbass gives you. This one seems to be holding up better so far, though, despite getting some road use. I definitely sound better when I turn mine on.
Sometimes the tube craps out and you have to replace it. I did that with my first one. You can get replacement tubes at your local GC, or at tubedepot.com.
I sold my first one a while after replacing the tube, thinking I'd get a 9v and smaller pedal. Had the Super Symmetry for awhile, but now I'm back to the Compressore (v2 this time). Powering it with a Cioks DC7 with a current doubling cable on 12v outputs.
I bought my original compressore new (then sold). I bought my second compressore used. When I bought the used pedal I also bought a replacement tube and went ahead and replaced the tube right away (just in case).
I got compliments on my clean tone this morning from one of our long time sound men, so I think my pedalboard isn't changing anytime soon ...
But yeah, these things are built pretty well, and typically the only problems you would have are the tube going bad, and that's a fairly easy, inexpensive and painless fix.
I sold my first one a while after replacing the tube, thinking I'd get a 9v and smaller pedal. Had the Super Symmetry for awhile, but now I'm back to the Compressore (v2 this time). Powering it with a Cioks DC7 with a current doubling cable on 12v outputs.
I bought my original compressore new (then sold). I bought my second compressore used. When I bought the used pedal I also bought a replacement tube and went ahead and replaced the tube right away (just in case).
I got compliments on my clean tone this morning from one of our long time sound men, so I think my pedalboard isn't changing anytime soon ...
But yeah, these things are built pretty well, and typically the only problems you would have are the tube going bad, and that's a fairly easy, inexpensive and painless fix.
After 10 years of only using a very old Boss Limiter that I had to chase all over the place as dynamics changed I got a used Keeley Bassist Compressor and wow, viva la difference.
Personally, I find it works best with really thuddy flats to bring that punch up in the mix. It also helps bring the Jazz bass bridge pup up in the mix, but with my P-bass I find it subtly hides the mids. The P-bass doesn't seem to benefit from it in the mix as when used with my other basses.
Personally, I find it works best with really thuddy flats to bring that punch up in the mix. It also helps bring the Jazz bass bridge pup up in the mix, but with my P-bass I find it subtly hides the mids. The P-bass doesn't seem to benefit from it in the mix as when used with my other basses.
I “discovered” compression, not in my studio at home, but listening to live recordings with and without it. A tasty soupçon of compression live really helps the presence of the bass in the mix—irrespective of EQ. That’s for electric, not upright (where I quite dislike it). The Compressore is what I use as well, although I enjoy Mike Knappe’s Diamond pedal too.
I find that most sound guys add compression on bass at the board regardless so I leave my Keeley on all the time with a slight compression. With that, I can have my own transparent quality compression, and let them know I'm already compressing. They usually turn theirs off on my channel when they see the clean signal. Nevertheless, I've had the markbass comp, very nice indeed.
Compressore is great, although...
Testing Compressors: Cali, Smoothie, Empress, Diamond, Keeley, FEA, Darkglass, Doc Lloyd, JHS & more
Lots of info for you to browse....
Thanks for that @scubaduba !
There's also @bongomania 's Compressor Reviews
That's a lot to review. Good to have multiple opinions to make informed decisions
Thank you both!!! I'll definitely go through this. I never realized what a compressor could do to the tone. I have a Fender Custom Shop '54 style P bass with dual Seymour Duncan '51 stack pickups that I've been testing today with this. I'm completely in love with the tone I'm getting from this bass with the compressor...and I'm only using the Comp 160 on my Zoom B3 at this point. What a revelation!
Well it's totally dependent on the music. I started using delays as a trumpet player after hearing Bitch's Brew, delays and horns are best friends right away. Bass is different because delay gets in the way of most of the bass player's traditional function.
Back in the 90s when I gigged allot on bass using 2 amps (shoegaze music), a faint 1/4note delay would be on the chorus amp and that made a huge sound.
At home solo, like when playing chords I might use some (so faint you don't notice it unless there is an abrupt stop) reverb & delay (about 3 pulses till fade) from a Boss RV3.
In band or recording situations these days I might be using 2 loopers and infinate delay loops (warped, harmonized, reverse or plain) from a Red Panda Particle or sequencer like repeats from a Malekko Charlie Foxtrot (usually on "stutter" for a perfect Pink Floyd like repeats, called "granular" in digi-talk) or using an EH SuperEgo sustainer for bowed bass sounds which I consider in the delay category. I put stuff in the loop of the Superego too, but not delays...shimmer, octaves, a Rainbow Machine, Arapanoid sequencer, Mel9, CH9, sometimes even a compressor if I want the held sound to jump out and adds sustain.... (I have the SuperegoII also and use some of it's effects but they cant touch a Rainbow Machine, but the filter is useful to make the sustained sound lofi)
Ric5
Inactive
- Jan 29, 2008
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- I like 5, 8, 10, and 12 string basses
I really hate playing fingerstyle without compression … but I find when I play with a pick I sound good with or without compression … So I use compression all of the time and some distortion as well
I was a no effects guy for many many years but I recently got the MXR Studio Comp and I never turn it off now. I don’t use too much and it just makes everything sit where it should. I don’t need to be the most brilliant player around, I just want to make good sounding music and the compressor is very helpful for that. I’ve been using it after my preamp but I’ll swap them and see how that goes. I use it when I practice too.
I’m a convert.
I’m a convert.
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Haha. Believe it or not, I don't have as many as you might think. I've sold several to keep funding getting new ones. It is expensive to keep running the tests.
Ain’t that ever the truth.
Exploring the subtleties of compressor pedals can be like a death from a thousand cuts for your checkbook if you aren’t disciplined about your acquisition plans.
My “problem” is that, in my house, when I run into a comp box that isn’t necessarily as well matched for bass as it might be to justify its price tag (e.g. Bogner Lyndhurst, Jackson Audio Bloom, Keeley Compressor+, et al) my guitarist S.O. will give it a go too. And there’s a good chance she’ll decide to use it on her board. (The Lyndhurst and Bloom work with bass. But they’re absolutely stunning with her M.K. Strat plugged into them.) And although it wasn’t part of my original plan, she’s now slowly building up a carefully curated collection of exceptionally fine compressors for her own use. Which I paid for.
Right now the only two I still have left on my ‘to get’ list are the Becos Compiq Mini Pro and the Doc Lloyd. After that I’ve got to stop for awhile. Our “new” house needs some improvements. So until the roof gets a re-shingle and the driveway repaved, our music gear discretionary fund isn’t going to get replenished.
So much to do. So little time and money to do it.
Either way, “Life is good!”
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I agree for the most part. Just don’t say that to Dave Gilmour.
He’s still using an MXR Dyna Comp as a key component of his sound. And that compressor is about as unsubtle (and noisy) as they come.
Interestingly enough, Gilmour’s legendary signature sound incorporates some of the oldest lo-fi gear out there. Key components include: a Fender Strat, script versions of the MXR Dyna Comp and Phase 90, the notorious Pro Co Rat, an original version of the EH Big Muff Pi, and a T. Rex Replica. None of these pedals would be considered “boutique” or likely to impress a modern day gearhead very much - unless Mr. Gilmour was playing through them.
Point being you need to find your own sound amidst your battery of gear. And while discretion and subtlety have a proven track record when it comes to bass compression, who knows? Maybe your one day legendary signature sound will incorporate a crappy old school compressor cranked to the hilt like Dave Gilmour’s does. So don’t be afraid to experiment. And above all use your ears.
