I use both. The compressor evens things out and the HPF/LPF is adjusted to the venue to tame boominess.
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Do you consider a compressor pedal a "must have"?
- Thread starter ArcadeNate
- Start date
I can't tell you how many times I've tried to wrap my head around the threshold and ratio settings, but you just explained it better than anything I've read before. (Well, to be clear, you explained it in the way that is most understandable to me...which I'd call "better.")
I thought most FOH engineers will put compression on the bass as standard. Could be wrong though.
In 30+ years of playing I've never owned or felt the need for a compressor pedal.
I've also used compression on 99% of the recordings I've ever done.
I've also used compression on 99% of the recordings I've ever done.
As a sound tech, I negotiate with the players to decide who / where we're going to compress, HPF, EQ or whatever. I never just blindly add "stuff" on top of the player's "stuff". As a player I'll raise those discussions with the sound techs.
I do that, too
I'll never forget touring all the famous recording studios where all the great players laid down their sizzling tracks on all the classic records, and asking "Where are your compressors?"—and hearing the engineers laugh and say "With the guys we record here, we don't need compressors, kid!"
I gigged for decades without one. I tried a number of them and never liked them until I found one I did like last summer, and it has been on for every gig since.
For me if I hear or feel audible squishing or choking of a note I am through. I want the compressor to fatten up the bass, add a nice punchiness to the attack, and otherwise be un-noticed, like the great studio comps I have heard when recording.
Until I found a pedal that did that I didn’t like them. Now that I have found a pedal that gives me the tone with no feeling of choked notes, I love that pedal, a Cali 76 CB.
I think with comps more than with most things you get what you pay for.
For me if I hear or feel audible squishing or choking of a note I am through. I want the compressor to fatten up the bass, add a nice punchiness to the attack, and otherwise be un-noticed, like the great studio comps I have heard when recording.
Until I found a pedal that did that I didn’t like them. Now that I have found a pedal that gives me the tone with no feeling of choked notes, I love that pedal, a Cali 76 CB.
I think with comps more than with most things you get what you pay for.
Depends on the sound system in use. I've worked with house systems that have no compression available.
I end up likings a little compression, but not for why you would typically think. If you’ve looked at demo videos, most are of people slapping, taping, etc. I do none of that. Mostly fingers and rarely a pick. I like compression for dialing in a nice tone that works. It can beef up, focus/tighten, compression for that purpose can be pretty good. I consider it a pedalboard staple, but not because it’s compression, but because it gets me the tone I like and just happens to be a compression pedal making it happen.
I like the Keely bassist for that because another good place to get a tone-assist is clean boost. That pedal
Does both. If you experiment wilt all
3 knobs, you can find something you like pretty quickly.
I like the Keely bassist for that because another good place to get a tone-assist is clean boost. That pedal
Does both. If you experiment wilt all
3 knobs, you can find something you like pretty quickly.
If you record in a studio, there will be compression on the bass. If you play live with a soundman, there will be compression on the bass. If you play live in a smaller ensemble, where your amp provides the bass sound (as opposed to a PA), it would be beneficial to use a compressor to even-out your tone (which is what the studio engineer and the live soundman are doing with it). It's a small effect that can really make a big difference. I have one on-hand at all gigs.
Must have pedal? No, but I have two that I run in series for what I want to do.
Will FOH or a recording engineer use one on your signal? Yes.
While they do reign in dynamics, I think a better conception is that a compressor really alters the "perceived dynamics." Applied poorly, a compressor can ruin a track or mix, but if you know what you're after, I can get my "in the mix" sound much faster with more consistency with compression and very light EQing rather than just EQ alone.
If you're on a gig and your E string feels huge while your G string disappears, I'd rather HPF + compress my signal than try to have some wild EQ curve to balance things out. At a certain point with sound reproduction, all of the technique in the world isn't going to solve the issue if you're on a hollow stage in a concrete room.
Will FOH or a recording engineer use one on your signal? Yes.
While they do reign in dynamics, I think a better conception is that a compressor really alters the "perceived dynamics." Applied poorly, a compressor can ruin a track or mix, but if you know what you're after, I can get my "in the mix" sound much faster with more consistency with compression and very light EQing rather than just EQ alone.
If you're on a gig and your E string feels huge while your G string disappears, I'd rather HPF + compress my signal than try to have some wild EQ curve to balance things out. At a certain point with sound reproduction, all of the technique in the world isn't going to solve the issue if you're on a hollow stage in a concrete room.
Live, never used one ever over 25 years steady gigging.
Recording, they are a near necessity once you become acquainted with it.
Recording, they are a near necessity once you become acquainted with it.
My answer - no.
I’ve had an EBS Multicomp on my board since 2017 and just sold it. I’ve played some shows without my board and it’s no real difference to me. Why? Because I can’t stand any more than a very subtle compression. As soon as I feel that squish - it’s over. So I really don’t need it and it opened up a spot for a JAM Waterfall Bass chorus, and I’m adding a Micro Thumpinator as a buffer/hpf in front of my board. I’ve tried compressors twice, nah, not for me. I need my dynamics, and have no real need for subtler compression.
I’ve had an EBS Multicomp on my board since 2017 and just sold it. I’ve played some shows without my board and it’s no real difference to me. Why? Because I can’t stand any more than a very subtle compression. As soon as I feel that squish - it’s over. So I really don’t need it and it opened up a spot for a JAM Waterfall Bass chorus, and I’m adding a Micro Thumpinator as a buffer/hpf in front of my board. I’ve tried compressors twice, nah, not for me. I need my dynamics, and have no real need for subtler compression.
I like the sounds I get from some (judicious) heavy squeezing.
^^ I built one of these back in about 1978, and have never been without some kind of compressor since!
Currently enjoying my Effectrode LA-1A...
^^ I built one of these back in about 1978, and have never been without some kind of compressor since!
Currently enjoying my Effectrode LA-1A...
Whether or not you have or need compression, the sound engineer running FOH almost guaranteed will add some to your signal. Even more likely with a studio engineer. So may as well have one that you can control and send the engineers a signal they don’t need to modify as much.
I do. Ever since I was under-powered and could hear myself on stage with a compressor. Allowed me to turn up and not worry about stray attacks that could kill a speaker... now I like a compressor with a slow "attack time" to create a more percussive sound out of an amp. Compressors just control the resistance in the line and cable-other effects lines- amp (especially tubes) and acoustic location are compression effects themselves that you learn to work with. so you don't need one, Lots of things we could do without, food doesn't have to taste good to feed ya
