Compressor pros and cons

[VW fan]

I feel my question should be prefaced by stating that I'm being sincere and not having a "dig".

To what extent are compressors used to compensate for issues with technique? That is to ask if they maybe overused as a "magical" device to make one's playing sound better versus spending the time practising and learning how to modulate finger force.

 

[dbsfgyd1]

I think the benefits of using compression to fix bad technique is greatly over stated IMO. Dynamics are an important part of art. I agree, players should work on being able even out their output volume. The best way to work on this is playing with other musicians, not with a dB meter. However, when it comes to mixing a recording, compression is a very useful tool.

 

[red_rhino]

Using a compressor to cover up bad playing still sounds like bad playing, only compressed.

Pretty much every bass you've ever heard on a recording is compressed. That includes first call A-list session players, who certainly have their technique dialed in. Certainly there are people who use them to try to cover up sloppy playing, but that's of limited use and not what compressors are for. There are also plenty of people who feel that compressors are a crutch and only used to cover up bad technique, and they are also missing the point.

Compression is probably the hardest effect for most players to get right. It take a lot of trial and error, and you kiss a lot of frogs (i.e. buy many compressors) looking for the one you like best that meets your tonal goals.

 

[FugaziBomb]

I feel my question should be prefaced by stating that I'm being sincere and not having a "dig".

To what extent are compressors used to compensate for issues with technique?

Zero. A comp really can't fix bad technique.

That is to ask if they maybe overused as a "magical" device to make one's playing sound better versus spending the time practising and learning how to modulate finger force.

Nah, not at all. I wouldn't try to fix anything with a comp to be honest. Some people think you can level out a vocalist who sways away from the mic, but even that doesn't really work. The only thing a comp is really good at it is taming the transients of a wave form. Technique isn't going eliminate transient spikes, it's just the nature of the beast - and until you knock them down, you're not going to get a good volume on your track without clipping.

Compressors aren't magic. They're a tool created to do one specific job... and a couple of interesting things if you're creative. The reality is that every bass track you've ever heard is compressed - most of them to all hell - and they usually need to be. No amount of practice at "modulating your finger force" is going to negate the necessity of a compressor on a bass track in a mix. When I mix things, I'm putting compression on every lane, then the busses, then the global mix, then the mastering mix. It is ubiquitous throughout the entire recording process.

As far as comps on a pedal board, that's an entirely different approach all together; compression as an effect, not a utility. I still wouldn't say that's doing anything to mask bad technique either, though. It's just not as magical as you'd think.

 

[Parzival]

I feel my question should be prefaced by stating that I'm being sincere and not having a "dig".

To what extent are compressors used to compensate for issues with technique? That is to ask if they maybe overused as a "magical" device to make one's playing sound better versus spending the time practising and learning how to modulate finger force.

Yes, I want to downvote this one so bad. What do you mean bad technicque? Tell me? I have played many a gig with nan a compressor. But, you need to find the right one. And, you need to learn what compression is and how it benefits.

 

[GrowlerBox]

As @red_rhino points out, using a compressor to “fix” bad playing results in bad playing with compression. I have compression always on in my main setup, and it doesn’t allow me to get away with anything, but it does allow me to use the full dynamic range of the instrument without risking blowing anything when played at reasonable volume. I also like the feel of playing with compression as much as the sound; everything is livelier and somehow feels more direct when playing with a good compressor (like my API unit).

 

[KenD]

A good compressor, properly used, does much more than just lop off the spikes and fill in the valleys, so to speak, to cover up lapses in technique. I have this Effectrode compressor/limiter and by using the Peak and Gain knobs on top, and adjusting the knee and attack trimpots inside I can achieve a lot of subtle but very audible tone shaping to suit whichever bass I'm using.

Effectrode PC 2A

 

[Killing Floor]

A compressor won’t change or compensate for technique. That’s not a thing.

That being said, you have never in your life heard a recorded track via any media without compression. Luckily you have the ability to choose how your bass is compressed or you can yield the control to someone else.

The only downside to compression is some people don’t learn how to use it.

 

[VW fan]

It seems clear my understanding of compression is inaccurate.
Can anyone suggest a site where I can learn more?

 

[EvilJ]

Invalid Link Removed

 

[red_rhino]

It seems clear my understanding of compression is inaccurate.
Can anyone suggest a site where I can learn more?

Yep, you're already here.

Testing Compressors: Cali, Smoothie, Empress, Diamond, Keeley, FEA, Darkglass, Doc Lloyd, JHS & more (Or as I like to call it, "The Most Dangerous Thread on Talkbass" )

You don't need to read all of it from the beginning, but the reviews are invaluable, and there's a huge amount of knowledge and experience to leverage.

 

[red_rhino]

No amount of practice at "modulating your finger force" is going to negate the necessity of a compressor on a bass track in a mix.

I remember a recording engineer taking bass levels from me as he was dialing in EQ, etc, and finally asking "Is that as loud as you're going to play?" I was young and inexperienced so of course I Interpreted this as a challenge, replying "I can play louder. Do you need me to play louder?" I couldn't tell if he was amused or exasperated, but sighed dryly "No, you're good." (Thus ended my 15 minute sound check and we moved on to 3 days of getting drum tones. LOL)

 

[Wasnex]

I feel my question should be prefaced by stating that I'm being sincere and not having a "dig".

To what extent are compressors used to compensate for issues with technique? That is to ask if they maybe overused as a "magical" device to make one's playing sound better versus spending the time practising and learning how to modulate finger force.

In my experience compression can definitely help conceal certain problems with technique. It's not just bass. As an audio tech I found compression most valuable for vocals . A surprising few vocalists sound good without it.

I am a retired pro bassist. Pretty sure I never used a compressor for my on-stage monitoring needs. In fact some amps are already too compressed for my taste. For stage monitoring I want my sound to jump out as much as possible rather than blending into the mayhem. However, I can think of situations where compression could be useful. For example if I was playing a song that requires a lot of sustain in the bass line, then I would use a compressor.

Bass in this song sounds super compressed . Notice the long sustained parts of the line.


I am sure many audio techs compressed my bass in the house mix. Compression is used widely used in mixing, and IMHO makes a huge improvement when done well.

A few years back I was interested in learning electric guitar. IMHO compression is pretty intrinsic to modern guitar sounds, and I have two compressors on my pedal board. Also, distortion goes hand and hand with compression....if you engage an OD pedal or crank your amp near it's limits, you get quite a bit of compression.

After retiring I built a pretty big collection of amps . A couple of my amps have nice built in compressors. The tone of my Trace Elliot V8 is darker when the compressor is turned off, so I run it on. However, I usually prefer the threshold set for fairly light compression. The compressor on my Mesa M9 Carbine really tightens up the lows. The M9 lows are sort of loose, woolly, and sloppy and seem a bit overwhelming to me. I usually address this sort of problem with tone adjustments. But on the M9 I find the compressor makes the lows feel more focused and controllable. Due to this tightening quality, I run a bit more compression on the M9.

 

[MDBass]

I feel my question should be prefaced by stating that I'm being sincere and not having a "dig".

To what extent are compressors used to compensate for issues with technique? That is to ask if they maybe overused as a "magical" device to make one's playing sound better versus spending the time practising and learning how to modulate finger force.

To zero extent should compression be used to compensate for technique issues.

Someone attempting to use a compressor primarily for that purpose really doesn’t understand what compression is or how to use it musically.

Modulating how hard you strike the strings changes not only the volume but the timbre as well.

Compression, from the right compressor with the right settings, will make a great performance sound even better: it will also make a sloppy performance sound even sloppier.

 

[Mister_GothFrak]

Man-O-War said:

All men play on 10!

I hit the strings pretty hard 95% of the time. It sounds better. I play aggressive music. I don't want huge volume spikes. I can play soft and/or turn the volume down on my bass for the quieter parts.
Sustain is no longer an issue now that I have a better bass and amp.

That said, I know nothing about how any equipment can really compensate for bad playing. The only thing that does that is turning the volume down and setting the EQ so (the bass) hides behind the guitar(s) and drums.

 

[One Way]

I set my compressor for a slow attack and overall light compression level. When I was new to using compression I didn’t seem to hear a difference with the compressor on or off.

However, with this setting the compressor is adding punch to each note played and not strangling dynamics. The initial attack of each note is uncompressed then the compressor pulls the note volume down ever so slightly. It helps my bass lines be heard in the mix without being overly loud. I’ve received comments at jams from new-to-me players that say “your bass is really punchy” and “I hear every note you play” (compression is not good for hiding clams ). It’s the compressor that’s adding to the punch.

 

[Ritter667]

I personal don't like using compression, other then when recording, post production stage.

It makes my tone more, surprise, surprise, compressed, that is less rich and less open and wide, and more convoluted and narrow, and it ruins the subtleties of my playing dynamics.

It can make your tone fatter and denser and/or more or less punchy and snappy (emphasizing or attenuating the attack) though, depending on how you set it, if that is what you are going for,

 

[Dillion Hanahan]

I mainly use a compressor if I like the tone that I have going on, but if I turn up the volume it gets a tiny bit “crackly” sometimes. Not sure why but some tones when I get loud enough kinda “change” in slight ways I feel like. Throw a compressor on it and that doesn’t happen in my opinion.

 

[Stylee Mousse]

It was common practice in recording studios when I was coming up in the 80s to absolutely smoosh the bass to a stick paste.

I hated that, esp as I was in originals trios that wanted a bass forward mix, not the “tuned thump to make the kick drum musical” that a lot of people strove for.

 

[40Hz]

Compression tends to make poor technique more obvious to the listener rather than the other around.

When asking a question such as the OP posed, it might be helpful to consider that every piece of recorded music we’ve listened to - and at least 99% of every professional music performance we’ve ever attended - used compression. So I think it’s safe to say it’s doubtful compressors are miracle boxes that are used to make up for poor technique or lack of talent.

As far as benefits go, compression is useful for minimizing sonic junk and related acoustic issues that detract from the enjoyment of the listener. Compressors, along with HPFs, are what I consider tools for grownups who know what they can and can’t do, along with how and when to use them.