Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Do most bassists use a compressor/limiter?
- Thread starter 6ULDV8
- Start date
no, most don't
In a recording situation some compression will always be applied -- as part of the mix/mastering process ..
In a live situation, the sound guy will likely do it, too
In a recording situation some compression will always be applied -- as part of the mix/mastering process ..
In a live situation, the sound guy will likely do it, too
I can't speak for "most" bassists, but I can speak for myself.
If I am playing fingerstyle, then I would never even touch a compressor. I use way too much dynamics when I play, having a compressor would lose that touch. It keeps me more connected to my instrument.
If I am playing fingerstyle, then I would never even touch a compressor. I use way too much dynamics when I play, having a compressor would lose that touch. It keeps me more connected to my instrument.
bongomania
Commercial User
What many people seem to not understand is that every nuance of their playing is heard better with properly-applied compression. Compression does not take away anything from the artist-instrument connection, because you actually hear what your fingers are doing more clearly. Again, when applied properly--not referring to low-quality pedals, low-quality one-knobbers built into a head, or improper usage.
I don't understand this reasoning. If it has a use in the studio, then it has a use live. In the end to goal is to have the bass fit into a sonic mix and support the music. If you use a comp to do this in the studio, then why wouldn't you do the same when playing live?
There are a couple of reasons to use a comp that have little to do with crutches. First is to tame envelope filter peaks. Second is to focus the sound/tone so that it sits better in a mix. Using a good compressor doesn't necessarily kill dynamics.
One more time, a little more clarified please, maybe they will get it....
Maybe I'm just an optimist...
Or maybe most people have just never used a decent comp properly....
bongomania
Commercial User
I'm pretty sure one of the problems many people have with compressors is that nobody ever taught them how to use one, and it's very easy to get bad results from a comp. With all the time people spend learning and playing music, it can seem like an unwanted pain in the butt to have to learn some extra piece of technology that just seems to mess things up. Plus, again, so many of the comps that people run into commonly are just not very good. So when a busy bassist plugs in to a comp, or turns up the comp knob on their amp, and gets nothing but mud with no dynamics, naturally there's a good chance he'll say "ah screw it, who needs the hassle".
No insult at all is intended by that observation--it's just what I think I see going on sometimes.
No insult at all is intended by that observation--it's just what I think I see going on sometimes.
While I know I should sit in front of a level meter and practice slapping until I can do it at the same level as my finger-style playing, I just don't have time- or patients - to do it. I guess I'm just not a dedicated player. I will sometimes use it when I slap. Although we only do about 2 songs a night that require slap so I just play and don't worry about it. No one really knows or cares anyway.
I have a Demeter Compulator that I really enjoy using (granted, it's the only compressor I've used, but I got it because the reviews I'd read basically stated it was well suited for what explain below...). I imagine it affects my dynamic range some, very possibly even noticeably so. But not negatively so... at least, not to me. What I use it for (that I believe cannot be done with simple right hand technique) is the bring forward that "punchy" swell right after the initial attack. That to me is what makes a full, punchy sound, and the Demeter does a great job at enunciating that.
I don't use a "compressor" per se, but I do play through a VT bass pedal which is always on, and I tend to push the "tube drive" of my Ashdown head pretty hard. So no I don't use a rack or pedal compressor, but i suspect both of those things compress my tone to some degree.
In the studio I don't run straight into a compressor or anything, but I know our mix engineer tends to add some compression to the bass track after the fact. And then again in mastering, obviously there's master compression at play, but not specificially for my tracks.
In the studio I don't run straight into a compressor or anything, but I know our mix engineer tends to add some compression to the bass track after the fact. And then again in mastering, obviously there's master compression at play, but not specificially for my tracks.
I think I get pretty nice compression from my BBE Opto Stomp. Cheap pedal with one knob. I don't use a rack so I don't want to drag around a rack just for a compressor.
i agree with the guys who say that compression is good if used as an effect. remember that stompbox compressors almost ALWAYS have an engage/bypass switch. so perhaps there are times when you could switch it on and off?
unfortunately not many people know how to use compression this way. maybe they don't understand or realise the full potential of compression.
as for me, well... to all the 'experienced' bassists out there... if all the dynamic control is in the fingers, how do i use my fingers to control oscillation?
as for the OP on the noise gate thing, lousy compressors are often noisy.
unfortunately not many people know how to use compression this way. maybe they don't understand or realise the full potential of compression.
as for me, well... to all the 'experienced' bassists out there... if all the dynamic control is in the fingers, how do i use my fingers to control oscillation?
as for the OP on the noise gate thing, lousy compressors are often noisy.
I'm in the sustain team with my compressor as well, also I use it to mellow a couple of effects for a different take with my blend. I practice sans compressor all the time, to make sure my right hand is doing the job correctly, as such my compressor is more of an effect, than a tool.
huh?arco playing and electric bass playing with/without a compressor are very differnt topics, IMO.
like most said - I definitely use it in the studio but not live because I don't need it. I'm happy w/ my sound the way it is.
as for noise gates I've never liked them either. the best I ever tried was on my THD uni-valve. It incorporates an actual light into the circuit. Really cool idea, and sounds ok - but I still never use it
as for noise gates I've never liked them either. the best I ever tried was on my THD uni-valve. It incorporates an actual light into the circuit. Really cool idea, and sounds ok - but I still never use it
scotch
It's not rocket science!
- Nov 12, 2006
- 6,944
- 2,081
- 51
- Disclosures
- Please see Profile for Endorsement disclosures
...putting on my flame-guards!
I always use compression in the studio (or rather, the engineer does), and I do use a compressor pedal as an occasional effect- when the song calls for something that heavier compression imparts. Such as, but not limited to, slap/pop/percussive techniques and Tony Levin-style squashing. Also, I see the merits of "reining in" other dynamic sensitive effects like filters/envelope followers, etc... In fact, I've started using post-filter compression a lot lately.
But, I am of the opinion (again, please don't shoot me) that when folks talk about "very transparent" or "rather subtle" compression- they can very often achieve this with technique. Sure, the compressor is easier & takes less time, but I think it gets over- and ill-used in this role. Plus, your fingers are better suited to making subtle adjustments on-the-fly that a electronic device cannot. It just ends up sounding more natural & less processed. Only my opinion!
If a transparent, always-on comp is working for you- great! But, it might be worthwhile to turn it off some night & see what you can do without it as well.
I always use compression in the studio (or rather, the engineer does), and I do use a compressor pedal as an occasional effect- when the song calls for something that heavier compression imparts. Such as, but not limited to, slap/pop/percussive techniques and Tony Levin-style squashing. Also, I see the merits of "reining in" other dynamic sensitive effects like filters/envelope followers, etc... In fact, I've started using post-filter compression a lot lately.
But, I am of the opinion (again, please don't shoot me) that when folks talk about "very transparent" or "rather subtle" compression- they can very often achieve this with technique. Sure, the compressor is easier & takes less time, but I think it gets over- and ill-used in this role. Plus, your fingers are better suited to making subtle adjustments on-the-fly that a electronic device cannot. It just ends up sounding more natural & less processed. Only my opinion!
If a transparent, always-on comp is working for you- great!
But, it might be worthwhile to turn it off some night & see what you can do without it as well.Perfectly said. I messed around for years with compression before I understood how to properly apply it. When that time came, it was with the help of a quality compressor: a Keeley 2-knob. Nothing can help you understand compression better than a compressor that does what it's supposed to do well and effeciently.
I definitely don't use any live...IME, it really hurts my ability to cut through the mix.
In the studio, I record raw tracks w/o compression (or EQ for that matter) and work with the engineer to let him do his thing. I didn't hardly use any on the last record b/c I played all fingerstyle, but have in the past when a pick was used.
In the studio, I record raw tracks w/o compression (or EQ for that matter) and work with the engineer to let him do his thing. I didn't hardly use any on the last record b/c I played all fingerstyle, but have in the past when a pick was used.
