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Does anyone NOT use a compressor? (... and why not?)
- Thread starter stringthrough
- Start date
I used to not like compressors because I had cheap ones, the kind that either squishes to death or does nothing good.
Then I spent some time learning about them, and bought one that is really good, and has a blend knob.
Now I can dial in the type of compression I want, make sure my attack still goes through, etc. and then scale the amount of compression way back by blending in mostly dry signal. I get my usual tone, plus that extra warmth and longer sustain added onto it. My dynamics are still there, though huge spikes are scaled down a bit.
I now love using just a little bit of very good compression.
If I had the choice between that and a cheap compressor, I would chose no compression.
Then I spent some time learning about them, and bought one that is really good, and has a blend knob.
Now I can dial in the type of compression I want, make sure my attack still goes through, etc. and then scale the amount of compression way back by blending in mostly dry signal. I get my usual tone, plus that extra warmth and longer sustain added onto it. My dynamics are still there, though huge spikes are scaled down a bit.
I now love using just a little bit of very good compression.
If I had the choice between that and a cheap compressor, I would chose no compression.
I don't use it in practice. That way I can really focus dynamics.
But what I don't get is people who merely think of it as a crutch. Sure you could totally squash your sound with it making any dynamic content void, but with just a smidge of compression you can make your softest attack audible in a live situation while digging in with the power of a thousand suns will not overpower everyone else in the band.
To me a good compressor doesn't kill dynamics but it actually enforces them in the mix.
But what I don't get is people who merely think of it as a crutch. Sure you could totally squash your sound with it making any dynamic content void, but with just a smidge of compression you can make your softest attack audible in a live situation while digging in with the power of a thousand suns will not overpower everyone else in the band.
To me a good compressor doesn't kill dynamics but it actually enforces them in the mix.
Compressor can hide poor technique. As can distortion. As can hiding in the mix. But sometimes all of those things are also what the song calls for. Genre is a big part of this and we're all playing different things in different ways.
Me, I'm a brash, fast kind of player a lot of the time and a touch of compression (often using my pedal as more of a limiter) can help push the hard edge of the sound I'm trying to make, leaving me to worry about hitting the right notes at the right time. I'm something of a beginner on bass too, two months in I'm learning a lot about how it differed to playing guitar.
Besides, not everyone on TB is a musical God (including, I don't doubt, some of those who think they are) and if you need to cheat a little, even as you practice every day to improve, that's better than being the sucky part of your band's sound.
I'm not necessarily saying people don't use it as a crutch ever. Nor that squashing dynamics is bad power se. Hell I use that kind of compression to synth up my sound.
I'm merely trying to say that a compressor is more than something you use to just hide poor technique.
Edit: also as you said, it can also help those that are not great yet. There's no shame in wanting to play live and wanting to tighten your sound.
Most bass combos has this built in anyway in one way or another. Like things such as Tech 21 VT , may not have it in print but simulating tube amps almost always have to compress in one way or another. If it's built in, there's no use bringing another one along. Small combos fair well with compressors as it ramps up the low frequencies and bucks the higher ones. As I become more experienced and seasoned, my leanings and tastes has gone to as much dynamics as possible. I want to play percussively with clear distinction between accentuated notes, syncopations, stops, grace notes, and I find compressors more of a liability these days than a help. I do not tap that much. Also, if I am using EMG or active pickups or low impedance system, it feels like compressors contributes next to nothing, really. There's one or two batteries in there on active pickup systems, and if not compressing as such, it induces a form of limiting upon the tone anyway. This is often not heard, but me as a player can sense it, if I compare to passive pickups. I can very well see that when tapping, compression comes in quite handy, but I don't do that. Well, yes, on one tune only, intro to Lou Reeds "Walk On the Wild Side". But that one I do without any compression anyway.
The last compressor pedal I bought, and thought it would be fun, was the Ashdown (double compressor) with two bandwidths. Forgot the model and name. But it was no fun. Unwieldy, and couldn't handle strong signals before it distorted in an ugly transitor like distortion. Just like if you switched +4db or -10db at line in. And it got rave reviews in spite of that. Discovered that I have some compression "built in" in some tube modelling when cranking the input gain somewhat on my amp. Sold that Ashdown box, and now I just run a cable into my amp.
By and large, and in a roundabout way, I think compressors can very well make up for anything else that is a shortcoming inside any combo, amp, bass, or bass pickups. If you have some kind of full range pickups, an above average bass with electronics, especially active circuitry, and cabinets that go all the way, there's less and less need for compression. One thing's for sure in my book, and when I play, when something's converted to low impedance line (active pickups or else) it seems that a compressor isn't needed at all. For some strange reason. But that's only me. I don't belittle or scold other people if I see them using a compressor pedal. Like it should be some tell tale that they're amateurs, or something. Trying to cover up for something. Not me.
The last compressor pedal I bought, and thought it would be fun, was the Ashdown (double compressor) with two bandwidths. Forgot the model and name. But it was no fun. Unwieldy, and couldn't handle strong signals before it distorted in an ugly transitor like distortion. Just like if you switched +4db or -10db at line in. And it got rave reviews in spite of that. Discovered that I have some compression "built in" in some tube modelling when cranking the input gain somewhat on my amp. Sold that Ashdown box, and now I just run a cable into my amp.
By and large, and in a roundabout way, I think compressors can very well make up for anything else that is a shortcoming inside any combo, amp, bass, or bass pickups. If you have some kind of full range pickups, an above average bass with electronics, especially active circuitry, and cabinets that go all the way, there's less and less need for compression. One thing's for sure in my book, and when I play, when something's converted to low impedance line (active pickups or else) it seems that a compressor isn't needed at all. For some strange reason. But that's only me. I don't belittle or scold other people if I see them using a compressor pedal. Like it should be some tell tale that they're amateurs, or something. Trying to cover up for something. Not me.
Ah my bad. I thought you were half agreeing half disagreeing. It's all good either way.I was backing you up!
I have some friends who keep bugging me to get a chorus pedal; maybe for a Birthday present...?
Yuck!!! Chorus on bass...
why isn't there any emoji that shows fingers like a cross? Like you show if Dracula showed up...
Everything just disappears with chorus on bass, low frequency, attack transients. Even on fretless. Your friends has some nerve to stretch the limits of good taste. But this topic is about compressors so let's go back...
I do not use a compressor for 2 reasons. 1) I have not used a good one that I like how it responds. The one I have tried that allowed me the dynamic flexibility I wanted colored the sound too much. 2) I am too cheap to start the quest for a great mid-high end or boutique compressor. When/if I decide to get more into slap or 2-hand tap, I will probably need to start looking more seriously.
Full disclosure: Here is a list of compressors I've tried with the results of the testing.
Full disclosure: Here is a list of compressors I've tried with the results of the testing.
- On-board compressor in a Behringer I had
- On-board compressor in my Carvin Bx250-limits way too early and colors the sound too much. Set on 2 it squashes virtually all dynamic variation.
- MXR Super Comp-Great flexibility but way too much noise and tone coloring/suck
- Ibanez (don't remember which one)-never could get a usable sound out of it.
I used to have some nice rack mount compressors. Now I have amps or preamps with built in compressors (be it a single button or one with controls) but to be honest, even when its on, I'm not "using" it - at least, not in my tone/sound. (I have a compressor pedal too but haven't touched that in 10 years.)
If I'm playing and noticing any clipping of my signal, I will look over to see if I'm hitting the compressor. If so, I usually dial down the input gain. I like to have my preamp set to where only the very hardest note sets off the compressor. So in effect I'm not using it - only using it to set gain levels so that I don't actually use it.
I kinda miss my old Ashly one though - it had a ton of settings and was completely transparent. Even when it was full compression, it was musical and very natural transition from compressed to not compressed. You could set the attack and release and of course the amount of compression. Or even run an eq in the effects loop of the compressor to only compress certain frequencies. Ok, I definitely miss that. Thinking I sold it on here though, so hopefully someone else has been enjoying it for the past 6 years.
If I'm playing and noticing any clipping of my signal, I will look over to see if I'm hitting the compressor. If so, I usually dial down the input gain. I like to have my preamp set to where only the very hardest note sets off the compressor. So in effect I'm not using it - only using it to set gain levels so that I don't actually use it.
I kinda miss my old Ashly one though - it had a ton of settings and was completely transparent. Even when it was full compression, it was musical and very natural transition from compressed to not compressed. You could set the attack and release and of course the amount of compression. Or even run an eq in the effects loop of the compressor to only compress certain frequencies. Ok, I definitely miss that. Thinking I sold it on here though, so hopefully someone else has been enjoying it for the past 6 years.
I prefer to use it as more of an effect, instead of an always on, evening-out-my-playing type of thing, so it doesn't get used often. Harmonics, Tony Levin-type stuff, Motown, etc. I have two (Boss CS-2 & Saffron Squeeze), both of which I'd prefer to get more squishy and more compressed, they sound okay when they're both on, but there's too much noise. Still looking to try an Analogman Bi-Comp
I've found I don't need one with my everyday playing. Maybe I'd like it at a less extreme setting, but I think my technique (most of the time) is consistent enough that I don't need one.
I've found I don't need one with my everyday playing. Maybe I'd like it at a less extreme setting, but I think my technique (most of the time) is consistent enough that I don't need one.
I use the Diamond bass compessor....always on. that and a bit of Sansamp driver. sounds killer with the Dusty Hill. And it really warms up the Geddy Jazz slap tone. I don't think the diamond has a high compression ratio which is why I like it.
And when I have to have a low volume at home, it warms up the tone.
It really does more than just balance out the peaks and valleys. Nothing about technique.
And when I have to have a low volume at home, it warms up the tone.
It really does more than just balance out the peaks and valleys. Nothing about technique.
I don't use one solely because I don't own one. Once I buy one it'll probably be closer to me than my own shadow.
I don't, mostly because i don't feel the need for one. Partly because I don't have room in my rack for one and I try to use a few pedals as possible.
I didn't for a long time, mostly because back in the day, the cheaper onboard types tended to squish notes too much and that turned me off.
However, when I started playing again and joined TB, i decided to give the Diamond a whirl. It has a fixed lower ratio and does not squish notes, it evens things out nicely and the tilt eq really thickens things up. IMO, it's perfect for quick home recordings and live, I use it mostly at gigs always on. Also I love the simplicity, I did not want a pedal with a bunch of tiny sensitive knobs
I've had more than one sound guy in the audience comment (not realizing i used compression on stage) that everything I played across the neck sounded so even
However, when I started playing again and joined TB, i decided to give the Diamond a whirl. It has a fixed lower ratio and does not squish notes, it evens things out nicely and the tilt eq really thickens things up. IMO, it's perfect for quick home recordings and live, I use it mostly at gigs always on. Also I love the simplicity, I did not want a pedal with a bunch of tiny sensitive knobs
I've had more than one sound guy in the audience comment (not realizing i used compression on stage) that everything I played across the neck sounded so even
To me, it's just one more tool to be used when and as appropriate.
Oddly enough, I often found the player who could most benefit from the judicious use of some compression is also the one who's the most convinced they don't need one. Either because they don't really understand what a compressor does and how to use it effectively (i.e. "I tried several and it didn't do anything for my sound."); or, they're just too full of themselves. (i.e. It's all in the hands dude! I want my 'natural' sound. Compression is a crutch!)
So be it.
Being naturally dense, it took me the longest time to get my head around compression and what it can bring to the party. Fortunately I had a really good audio engineer friend of mine sit me down and walk me through it. It took a while. And some practice. But I finally got it. And it was worth the time and effort IMO.
Now I know when it's needed. And more importantly, how to use it. It's true I don't often use mine for most things I do. But it's a handy tool to have sometimes. And I'm glad I put in the time to know enough to be able to use a compressor.
YMMV
Oddly enough, I often found the player who could most benefit from the judicious use of some compression is also the one who's the most convinced they don't need one. Either because they don't really understand what a compressor does and how to use it effectively (i.e. "I tried several and it didn't do anything for my sound."); or, they're just too full of themselves. (i.e. It's all in the hands dude! I want my 'natural' sound. Compression is a crutch!)
So be it.
Being naturally dense, it took me the longest time to get my head around compression and what it can bring to the party. Fortunately I had a really good audio engineer friend of mine sit me down and walk me through it. It took a while. And some practice. But I finally got it. And it was worth the time and effort IMO.
Now I know when it's needed. And more importantly, how to use it. It's true I don't often use mine for most things I do. But it's a handy tool to have sometimes. And I'm glad I put in the time to know enough to be able to use a compressor.
YMMV
