How do you usually set attack and release times on your compressor when manual controls are available?

[Fuzzbass]

Apologies, I use a variety of compressors (including a Stella Pro) but never pay attention to numbers, so this may not be helpful. But I set attack and release two different ways:

1. For "barely there" compression, or moderate compression when I want to enhance the transients of distortion, I use slow attack and fast release.
2. For New York style compression I use higher ratio, short attack, long release -- along with lots of dry signal, of course. I typically follow this with an overdrive or distortion pedal. The end result can provide sustain (and clipping) similar to standing in front of a loudly cranked tube amp even when playing at low volume. It can also result in feedback when playing at higher volume.... so, DON'T DO THAT.

 

[Fuzzbass]

From the point of view of a FOH person - if you're going to be doing gigs on a regular basis where the sound in the audience is through a PA, a FOH person would MUCH prefer you NOT compress your signal before sending it to FOH. If what you have done compression wise doesn't work, it's very hard (OK, essentially impossible) to undo compression that is already applied to a signal.

FOH has a better chance of making you and your band sound good if you don't compress first. I know that may be an un-popular view around here, but if you want your band to sound good, it's best to work with the FOH person.

Others have already replied to this tangent, but my take: there's only high risk of bad sound if the FOH tech is less than competent or not paying attention, perhaps even overcompressing bass by default (in which case adding more comp won't really make a diff).

Context: series compression is a common studio trick. That is, it can sound more natural to use two compressors at 2:1 instead of one at 4:1. The use of the first compressor (by the bassist, in this case) means that the second (used by FOH) won't have to work as hard. I get it, bassist and FOH tech both using a higher ratio might result in too much squish -- or maybe not: depends on how threshhold/attack/release are set, eh? But again, if the tech is competent and paying attention, he will only compress when needed.

FWIW I always welcome feedback from FOH techs, and get it sometimes... usually just about stage volume. But I honestly don't believe I overcompress... I'm all about blending in dry signal, and typically use slow attack to enhance note definition.

 

[Deleted member 409773]

From the point of view of a FOH person - if you're going to be doing gigs on a regular basis where the sound in the audience is through a PA, a FOH person would MUCH prefer you NOT compress your signal before sending it to FOH. If what you have done compression wise doesn't work, it's very hard (OK, essentially impossible) to undo compression that is already applied to a signal.

FOH has a better chance of making you and your band sound good if you don't compress first. I know that may be an un-popular view around here, but if you want your band to sound good, it's best to work with the FOH person.

Here in Eastern Europe (Romania and Hungary) there is a mentality that is often seen among bass players: "why put effects on a bass, it's stupid, just a bass and a cable is enough".

I played bass for ten years without any effects. In this collective mentality in Romania, we associate different types of sounds with the bass guitar itself, without thinking about sound processing, not only that Warwick or Stingray (for example) sounds so good, but there is a compressor, a preamp with drive, a DI, etc. In the United States, I have seen bassists, even keyboard players using effects (for example, compressor).

If in the States I have seen dozens of keyboard players using effects and compressor, in Romania I have not seen any. Is this mentality or the belief that for keyboard players, effects pedals are not necessary.

And I heard a lot of bass players who didn't sound, it was a mediocre sound to say the least, or indistinguishable (that's what happens when you rely only on FOH person). And bassists often come to me and say: "Wow, that bass sounds so good!" They don't understand that it's not just the bass that sounds, I use multiple preamps (SansAmp, Origin SV, Origin DCX), sometimes even the two Origin pedals together (SV and DCX), plus I have three compressors (one set for slap and percussive funk, one set for slower parts, when I want a warm sound, another one set to work with the metal/djent drive in the Darkglass Microtubes X Ultra pedal).

I've been using effects and compressors for some time (set quite finely, because I use them always on, well, not all at once) and I go out in front of the stage and listen to my instrument in the mix. It sounds!

Moreover, I set all the pedals in studio sessions, I didn't set what I prefer at home solo (badroom sound), but what sounds in the mix while I was recording. I never set my pedals out of context. I use my Focusrite all the time and I make records with each setting, in the mix, and listen to see if the setting works with my band, and I also send the recordings to my bandmates and often I choose what they like.

 

[butterfingers1]

Noon.

 

[micguy]

Noon.

I like to get my settings lined up well ahead of the gig, too, but if I have a gig in the evening, and a knob gets turned on the way to the gig, I allow myself to adjust it in the evening (or the morning) - any time, really.

 

[johnk_10]

i have a lot of very nice compressor pedals, some of them being the Origin Bass V2, Empress Bass Compressor, DG Hyperluminal, Becos Comp Stella Pro , FEA DB CL, Warm Audio 76, UA 1176, UA LA-2, and a lot more (plus some high end rackmount ones too, a UA 6176, two Distressors, two vintage Urei 1176's that i use in the studio), but lately i've been using my Diamond Bass compressor on live gigs just cuz i like what it does for my live tone.

 

[becosfx]

I don't remember what the actual timings are but on both my CompIQ Mini and Stella compressors I leave the timing switch permanently on the fast setting.

That would be the FASTER timings of 5–7ms attack and 70ms release. More or less, the ‘golden ratio’ of 1:10 for compression timing. It’s also program dependent, meaning it varies with how much is being compressed (how much signal is above the threshold), the length of the input burst, and the set ratio. SLOWER timings are 10–15ms for attack and approx 100–200ms for release, also program dependent. Faster timings increase the feel of compression, making it punchier, more like an effect, or usable for limiting when setting the threshold higher (even with the RMS detector, it can catch big peaks immediately). Slower timings feel smoother and more transparent, helped further by using soft knee and even more so by choosing feed-back compression (though this might no longer be that useful for limiting, maybe for soft-limiting), and lastly by mixing in dry signal. These auto settings generally work well and are often preferred. However, with manual attack set longer, around 15–30ms, and a relatively faster release of 50–100ms or even less, depending on how rapid the succession of input bursts is (like rapid and strong slap bass playing or drum hits), a different percussive feel can be obtained by letting slightly longer transients through, which get amplified by makeup gain. In contrast with the immediate compression, they can sound really percussive or more intense. This effect depends directly on playing style and washes out rapidly with softer or longer notes (like in a slow tune) even with settings preserved. It is also increased in intensity by using higher compression ratio coupled with lower threshold which imply more makeup gain. Again, mixing dry signal and the other parameters if available can fine tune this effect. Worth noting that this effect is stronger and more controlabile with feed-forward VCA compressors. With feed-back compression this effect may not be properly achieved.

 

[HalfManHalfBass]

That would be the FASTER timings of 5–7ms attack and 70ms release. More or less, the ‘golden ratio’ of 1:10 for compression timing. It’s also program dependent, meaning it varies with how much is being compressed (how much signal is above the threshold), the length of the input burst, and the set ratio. SLOWER timings are 10–15ms for attack and approx 100–200ms for release, also program dependent. Faster timings increase the feel of compression, making it punchier, more like an effect, or usable for limiting when setting the threshold higher (even with the RMS detector, it can catch big peaks immediately). Slower timings feel smoother and more transparent, helped further by using soft knee and even more so by choosing feed-back compression (though this might no longer be that useful for limiting, maybe for soft-limiting), and lastly by mixing in dry signal. These auto settings generally work well and are often preferred. However, with manual attack set longer, around 15–30ms, and a relatively faster release of 50–100ms or even less, depending on how rapid the succession of input bursts is (like rapid and strong slap bass playing or drum hits), a different percussive feel can be obtained by letting slightly longer transients through, which get amplified by makeup gain. In contrast with the immediate compression, they can sound really percussive or more intense. This effect depends directly on playing style and washes out rapidly with softer or longer notes (like in a slow tune) even with settings preserved. It is also increased in intensity by using higher compression ratio coupled with lower threshold which imply more makeup gain. Again, mixing dry signal and the other parameters if available can fine tune this effect. Worth noting that this effect is stronger and more controlabile with feed-forward VCA compressors. With feed-back compression this effect may not be properly achieved.

Thank you for the clarification! All I know is I really like the sound from this setting and of all the many compressors I have used and owned, yours are the only ones that I can understand and can visually see and hear a real difference when using. It's like every control actually does something when turned! I like the fast switch setting so much that on the Stella, it almost seems a shame that I'm not using half of the available controls: I usually leave the EQ parked in the flat position but I still like to have them there -should the need ever arise. Even the SCF isn't needed as I wish to catch even the lowest notes and try to achieve a consistent volume between every note regardless of the string diameter I play it on (currently using 45 - 135 gauges).

 

[Deleted member 409773]

That would be the FASTER timings of 5–7ms attack and 70ms release. More or less, the ‘golden ratio’ of 1:10 for compression timing. It’s also program dependent, meaning it varies with how much is being compressed (how much signal is above the threshold), the length of the input burst, and the set ratio. SLOWER timings are 10–15ms for attack and approx 100–200ms for release, also program dependent. Faster timings increase the feel of compression, making it punchier, more like an effect, or usable for limiting when setting the threshold higher (even with the RMS detector, it can catch big peaks immediately). Slower timings feel smoother and more transparent, helped further by using soft knee and even more so by choosing feed-back compression (though this might no longer be that useful for limiting, maybe for soft-limiting), and lastly by mixing in dry signal. These auto settings generally work well and are often preferred. However, with manual attack set longer, around 15–30ms, and a relatively faster release of 50–100ms or even less, depending on how rapid the succession of input bursts is (like rapid and strong slap bass playing or drum hits), a different percussive feel can be obtained by letting slightly longer transients through, which get amplified by makeup gain. In contrast with the immediate compression, they can sound really percussive or more intense. This effect depends directly on playing style and washes out rapidly with softer or longer notes (like in a slow tune) even with settings preserved. It is also increased in intensity by using higher compression ratio coupled with lower threshold which imply more makeup gain. Again, mixing dry signal and the other parameters if available can fine tune this effect. Worth noting that this effect is stronger and more controlabile with feed-forward VCA compressors. With feed-back compression this effect may not be properly achieved.

So, the Cali76 v2 with the slower attack setting and faster release setting (one knob Attack/Release) is in the golden ratio of 10:1. (Attack time range: 1.6ms to 5.1ms; Release time range: 73ms to 880ms). The slowest attack/fastest release is 5.1/73ms. I love the Cali76 v2 on 10:1 Ratio for slap, but I don't want so much compression live. Live I'm going with 4:1 ratio, and the 5.1ms/73ms (attack/release), HPF maxed out and 50/50 dry/compressed signal (NY Style).

On Empress, my live setting is 4:1 ratio, 32ms attack, 110ms release, HPF at 10 o'clock, Mix at 2 o'clock. I love this setting for percussive fingered funk and for slap. The Empress is a much better compressor for slaps (for me), with wider possibilities to set the attack and release.

But with my Darkglass Microtubes X Ultra (my metal/djent tone) I always like the Cali76 more, I have a fuller and warmer sound, I have more body.

 

[crguti]

It depends of the music. Fast death metal played with a pick requires a different approach than motown played with fingers.

 

[Hypocrite]

It depends of the music. Fast death metal played with a pick requires a different approach than motown played with fingers.

QFT. I'm only using an 1176 until something faster comes along.

 

[becosfx]

(Attack time range: 1.6ms to 5.1ms; Release time range: 73ms to 880ms).

Hmm… looking at the new Cali76 Bass manual, I read these timings differently: fully CCW gives 1.6ms attack (fast) and 880 ms release (slow), almost 1:550 timing ratio. Fully CW gives 5.1ms attack (slow) and 73 ms release (fast), about 1:15 timing ratio. I hope I’m not mistaken. Maybe the LEDs reflect this better, especially that 880ms release, which should be quite visible. Probably within these ranges there are many useful spots.

That said, I don’t think the Attack:Release timing ratio needs to be set in stone. Calling it “golden” might have been too much Yet it works well, especially in auto timings.

As mentioned before, in our testing, longer attack times around 15–30ms combined with relatively short release times, around 100ms or less, tend to produce the most percussive feel for certain playing styles. That’s roughly a 1:3 timing ratio, but the key point is that the “1” here is already longer than usual. Again, the practicality of such combination depends on preference, music, and playing style. But it seems bassists tend to prefer these longer attacks, while guitarists usually stick to the more standard timing ratio.

 

[AudioSlave556]

I'm currently using the Becos Stella v2.0, after using the Empress Bass.

Would like to say how I compress with VCA will be different to FET. For VCA i prefer a super fast attack and for FET i prefer a relatively slow attack. Release for both is relatively quick. Might be the way the compression sounds to me.

The Stella sounds really good with fast attack/fast release (not preset, full ccw atk, 9oclock rel) on slap and slow preset on fingerstyle but I do wish the release was a bit quicker on the preset. DAW compression i use 20 to 30 ms atk and 80 to 100 rel.

Side note: the make up gain, tilt eq, internal eq and transformer is excellent. UI wise, could use topjacks+power and 1590 size or slightly larger. its cramped so sometimes i move a knob when i flip a switch.

 

[becosfx]

Side note: the make up gain, tilt eq, internal eq and transformer is excellent. UI wise, could use topjacks+power and 1590 size or slightly larger. its cramped so sometimes i move a knob when i flip a switch.

We knowingly compromised on the UI by opting for an ultra-compact enclosure. Indeed, the small switches aren’t suited for on-the-fly changes, but they’re usually used for initial setup only, as they define the compressor’s operating mode. Once set, control is straightforward with the knobs, and those changes are more often. Given this enclosure and UI layout, top-mounted jacks and power weren’t possible.

slow preset on fingerstyle but I do wish the release was a bit quicker on the preset.

Here, I’d suggest using the F (fast) auto timing, which gives a shorter release, together with soft knee. It slightly extends the attack due to the progressive onset. If that’s still too sharp, switch to feed-back side-chain mode, which further smooths the attack. For something in between, use hard knee for a snappier response, but keep the side-chain in feed-back mode. As always, blending in a bit of dry signal helps soften the fast attack.

 

[AudioSlave556]

Here, I’d suggest using the F (fast) auto timing, which gives a shorter release, together with soft knee. It slightly extends the attack due to the progressive onset. If that’s still too sharp, switch to feed-back side-chain mode, which further smooths the attack. For something in between, use hard knee for a snappier response, but keep the side-chain in feed-back mode. As always, blending in a bit of dry signal helps soften the fast attack.

Thanks, worked like a charm!!

Current compression setting for the happy medium between slap and fingerstyle. Any tips welcome.

 

[justicebass]

We’re looking for broader input on how bassists set attack and release times on compressors with manual controls (and also on preferred “auto” options, or reversible timing options like “fast/slow” or “slow/fast”, if applicable for a particular device). We’re trying to better understand the range of timings bassists tend to use. We’re especially interested in the reasons behind your choices, if you wish to elaborate: are they based on your playing style, the type of music, or a specific outcome you’re after? If possible, please include a rough estimate (in milliseconds) of what you feel to be “fast” and “slow” (or “slower”) for both attack and release times, unless your knobs are marked and the values can be deduced. Thanks in advance for your input.

in Chuck Berthoud Bass Camp channel Video
This Is Why Your Slap Bass Sounds MESSY
Chaz explains his Compression setting for Slap bass as such:

Attack around 2 milliseconds, release around 10 milliseconds, and an average gain reduction of about 6 or 7 dB,
He's aiming for a specific sonic outcome, balancing control, punch, and sustain.
Here's why these specific settings are chosen:

1. Attack: around 2 milliseconds (fast)

• Taming transients and punch: A fast attack like 2ms means the compressor clamps down on the initial loud spikes (transients) of the bass notes very quickly. This helps to control the dynamics of the instrument, especially if the bassist has a strong attack or plays aggressively (like slap bass or with a pick).
• Evenness and consistency: By quickly grabbing these initial transients, the compressor creates a more even and consistent overall volume for the bass, preventing loud notes from sticking out too much.
• However, be cautious: While helpful for control, a very fast attack can sometimes reduce the initial "punch" or impact of the bass notes, making them sound less lively or dynamic if not set carefully, according to Music Guy Mixing. The 2ms setting aims to strike a balance where the transients are controlled without completely flattening the attack.

2. Release: around 10 milliseconds (relatively fast)

• Maintaining sustain and avoiding pumping: A relatively fast release time of 10ms ensures that the compressor quickly stops compressing after the bass note's initial attack subsides. This allows the natural decay and sustain of the bass notes to ring out without being excessively curtailed.
• Preventing pumping: A release that's too fast can sometimes lead to a noticeable "pumping" or breathing effect, where the volume appears to fluctuate unnaturally with the compression engaging and disengaging quickly. A 10ms setting aims to release quickly enough to maintain sustain without introducing these artifacts.
• Adding punchiness: A relatively fast release can also contribute to a punchier sound by allowing the compressor to recover quickly before the next note, enhancing the dynamic contrast between notes.

3. Average gain reduction: about 6 or 7 dB (moderate to heavy)

• Significant dynamic range control: An average gain reduction of 6-7dB indicates a moderate to heavy amount of compression being applied to the bass signal. This level of compression significantly reduces the difference between the loudest and quietest notes, making the bass more consistent and solid within the mix.
• Creating a solid low-end foundation: By controlling the bass's dynamics, the compressor helps to create a more consistent and impactful low-end foundation for the entire track.
• Risk of over-compression: While effective for control and solidity, a high level of gain reduction needs to be monitored closely. Excessive compression can "squash" the bass sound, removing its natural dynamics and potentially making it sound dull or lifeless. This amount suggests the bassist is willing to use noticeable compression to shape the bass sound.

In essence, these settings work together to provide a bass sound that is tight, controlled, and sits well within the mix, while retaining a degree of punch and sustain. The fast attack handles the initial transients, the relatively fast release preserves natural decay, and the moderate to heavy gain reduction provides a solid and consistent low-end presence.

 

[amper]

I am primarily a fingerstyle player. I only very rarely use a plectrum, and when I do, it is only for very short passages, for particular emphasis. My concerns when using compressors are enhancing the attack of my notes and controlling too much bloom after that. So, I generally use a fairly slow attack time to allow the initial transient through, and then have the compressor clamp down on the body of the note, then release fairly quickly so as to not obstruct the transient of the following note. This works even better with a multiband compressor, because I can have a higher compression ratio on the lower frequencies.

In this way, I am actually setting up the compressor as more of an expander, not to decrease relative dynamic range, but to increase apparent dynamic range.

I am currently using the tc electronic SpectraComp with a custom program of my own, or the Boss BC-1X. I wholeheartedly recommend them both.

 

[Chris Chong]

Just got a BECOS Comp Mini Pro.

Loving the fast attack/release setting. I typically go for 3dB reduction.

 

[becosfx]

Attack around 2 milliseconds, release around 10 milliseconds, and an average gain reduction of about 6 or 7 dB,

Charles Berthoud is a phenomenal bassist, and his playing is exceptional. Still, I don’t think those ultra short timings would work for most others or for various other purposes. The details matter. There’s no mention in the video of where the threshold is set, but 6dB of reduction can be achieved on high peaks only, even with a low ratio, especially with slap bass. In that context, short timings, like a 10ms release, might make sense. That doesn’t mean this would work in most other situations. Lower the threshold a bit or raise the ratio, and most compressors will distort, mainly because of the very short attack (like 2ms is; this captures everything below 2kHz at the first cycle!). The timings he’s using may simply be too short to avoid distortion under other settings.

Another point is that while such fast attack times are found in FET compressors (with some distortion if accepted), a 10ms release is probably not possible on most compressor pedals. Maybe some digital ones can do it, but not many. It’s likely that Charles is referring to studio plugin settings. Most pedal compressors don’t offer release times under 50ms. A 50ms to 500ms range is generally best for most instruments and mixes, and that’s offered by most compressors. Outside that, compression tends to become too audible in ways that aren’t helpful. Still, as always, some extreme timings may work in specific cases and if some devices offer such features, it’s great.

 

[becosfx]

So, I generally use a fairly slow attack time to allow the initial transient through, and then have the compressor clamp down on the body of the note, then release fairly quickly so as to not obstruct the transient of the following note.

We noticed that, when given the choice, bassists tend to prefer longer attack and faster release. That indeed works well with fingerstyle playing, maybe with other styles as well. This can be properly set using manual Attack & Release controls or a purposefully designed single timing knob. When no such option exists, short attack times are usually softened by blending in some dry signal, or reduce the amount of compression, or both; other parameters may be used too, if available.