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How important is compression in your signal chain?
- Thread starter Brandon Shea
- Start date
- Aug 21, 2003
- 11,593
- 18,612
- Disclosures
- A-Designs Mike Lull GK Tsunami Cables GHS Strings RMI Basswitch Nordstrand Pickups Darkglass
Well said…Totally agree.
I will however revive a zombie thread on rare occasion is necessary.
For some reason that flabbergasts some TB-ers but I think those TBs need a to just chill. This is supposed to be informative and fun.
You’re damned if you do, damned if you don’t. Zombie thread, some get upset. New thread, some get upset.
Or, you can go to the hundreds of pages long effect specific thread, but if you aren’t already in the know on a lot of those, you don’t get a lot of feedback. And I get that. Folks there have already discussed the B7K, or Cali76, or Underground Accelerator ad nauseam.
Keeley Bassist for me is always on but set to very light compression. My goal is not to try to "even out" the notes. That's perfected by technique. The goal is to get the compressor to bloom the notes to make them punchier.
Finding a good video tutorial on compression is pretty much essential imho.
Finding a good video tutorial on compression is pretty much essential imho.
Passinwind
I know nothing.
- Dec 3, 2003
- 23,064
- 45,975
- Disclosures
- Designer/Toaster Tech @ Passinwind Electronics
As a now non-gigging player, nope. When I was doing sound in clubs, nearly always for BG in the FOH mix.
Always on, every gig. If you don’t use it as a crutch, but rather to shape and slot the bass in the mix better, it can be a game changer. Typical go to is the Empress Bass Compressor for me. Easy to use, sounds great.
JazznFunk
Supporting Member
Depends on the gig, depends on the rig. For my solo shows, I always use one (Seymour Duncan Studio Bass) to help glue together all the different things I'm doing before they hit my looper. In my regular gig rig (electric or upright) I tend to not use compression. Regardless, it's always very light, and not used as an obvious effect. It's used to subtly keep everything reined in, so all things are clear and present. In the studio though, compression is a must. The great thing about a compressor like the Seymour Duncan is that it has a blend control AND a switch to control which frequencies get priority in the blend - just the top end, the full range, or just the low end. The features of a compressor beyond the basics can be a huge determining factor in whether or not it's helpful in a live setting.
My favorite outboard compressor is still my original MarkBass Compressore, but I don't use it live much at all because of the huge footprint. That said, a quality tube compressor is a really great thing. When you spend enough time with compression in the studio and REALLY get to know what it does, you can make more informed choices about what you might need/want as it translates to a live setting.
My favorite outboard compressor is still my original MarkBass Compressore, but I don't use it live much at all because of the huge footprint. That said, a quality tube compressor is a really great thing. When you spend enough time with compression in the studio and REALLY get to know what it does, you can make more informed choices about what you might need/want as it translates to a live setting.
I like compressors but found you do have to spend a decent amount to get one worth keeping on all the time. A lot of the cheaper ones are cool but just something to turn on every now and then because they color the tone so much and add noise. I like the pedals that have minimal color and a tiny amount of squish.
My main basses are a 76 P with flats and a 73 J with rounds.
Historically I've preferred not to have a compressor in my chain for the P but always had a comp for the J. The J in the past has gone through the Trace Elliot Dual Compressor, a SpectraComp, a Keeley Compressor Pro, and the newer Diamond Bass Compressor at different times. It's more of a tonal and feel thing as opposed to needing to do any leveling.
I found a nice compromise in the Sushi Box Finally DI. It's not a compressor, but there's definitely a measure of tube compression happening in that box and it sounds good with both basses and I love the grit and push that it adds. Since then I've sold off most of my compressors and just bring the Finally to every gig.
I'm sure they're already compressing me at FOH, so as long as the onstage feel is right I don't sweat not having a compressor in my rig.
Historically I've preferred not to have a compressor in my chain for the P but always had a comp for the J. The J in the past has gone through the Trace Elliot Dual Compressor, a SpectraComp, a Keeley Compressor Pro, and the newer Diamond Bass Compressor at different times. It's more of a tonal and feel thing as opposed to needing to do any leveling.
I found a nice compromise in the Sushi Box Finally DI. It's not a compressor, but there's definitely a measure of tube compression happening in that box and it sounds good with both basses and I love the grit and push that it adds. Since then I've sold off most of my compressors and just bring the Finally to every gig.
I'm sure they're already compressing me at FOH, so as long as the onstage feel is right I don't sweat not having a compressor in my rig.
Nope, no compression for me. I've tried it, and honestly couldn't tell the difference.
It costs absolutely nothing to keep scrolling. If people didn't ask some of the same things "over and over", this place would've died 10 years ago. Plus, perhaps some people's answers will evolve over time. Like the OP said, it's a journey.
Never used it. I learned to correct my technique so I play cleanly and evenly. I like dynamics in my music.
At Motown they never compressed bob babbitt, and they only compressed Jameson due to intonation and bad setup issues, it’s well documented by Motown engineers.
Bruce swedien master studio engineer with 5 Grammy wins 12 nominations (Michael Jackson etc) has stated:
"Compression is for kids...it's a crutch"
"Transients in music are a part of the excitement and part of the groove"
“I hate compression. It should never have been invented. Automatic gain control is a crutch and it’s definitely not good for the music.”
among other things. He prefers not to use it saying if you get quality musicians with quality technique, it’s not needed.
I have personally tried compressor pedals, plugins, and outboard hardware and it just never felt good to me. I like to control my sound and dynamics and not have it automated, If I’m too loud I will back off, if I’m uneven, I will even it out.
At Motown they never compressed bob babbitt, and they only compressed Jameson due to intonation and bad setup issues, it’s well documented by Motown engineers.
Bruce swedien master studio engineer with 5 Grammy wins 12 nominations (Michael Jackson etc) has stated:
"Compression is for kids...it's a crutch"
"Transients in music are a part of the excitement and part of the groove"
“I hate compression. It should never have been invented. Automatic gain control is a crutch and it’s definitely not good for the music.”
among other things. He prefers not to use it saying if you get quality musicians with quality technique, it’s not needed.
I have personally tried compressor pedals, plugins, and outboard hardware and it just never felt good to me. I like to control my sound and dynamics and not have it automated, If I’m too loud I will back off, if I’m uneven, I will even it out.
What does compression have to do with intonation?
To answer the OP's question, I had used a Fairfield Accountant as an "almost always on" pedal for the last few years. Totally not transparent, dirty compressor that adds a thing to the sound. I like it a lot, but have gotten away from it the past few months because I've been leaning a bit more on the Darkglass thing.
I have a compressor on all the time, but if it wasn't there it wouldn't ruin my gig.
here is what Bob Olhsson Motown engineer said
“James got lightly compressed going to tape because his intonation stretching could make his notes uneven. Babbitt didn't need any which was a ballsier sound”
I do think it's funny when a 10 year old thread gets revived. I'm the first to post something like "gee, I hope the OP figured it out by now." or "holy threadsurrection, Batman!" It's a discussion forum. Just start a new thread. It won't hurt anyone.
This type of comment baffles me a bit. You must have an outstanding technique or the perfect bass. I have tried a few compressors in my bass life and even with the most subtle ones, I can hear a difference (most times for the better).
I don’t want to be an a$$ but people who find compressors useless either don’t know how to set them up or haven’t found a good one.
When set up properly with reasonable settings (low ratio, for a start), a good compressor won’t squash your tone, and will add evenness, presence and punch to your sound. That’s what my Cali76 CB does at least. But there’s other good comps around.
Each to their own but what the Cali does to my tone is the best thing that happened to my tone.
That being said, I have played without a comp for the longest time too before settling on the Cali and I didn’t have an issue with that. But it does make me sound better.
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Sometimes i use a compressor pedal and sometimes i don't, a Keely Bassist. If i feel like i need a super clean and polished sound i will prioritize it, but generally i don't really NEED it in the signal chain. All you can do is try it and see if you like the results, but don't feel like it is a required piece of gear. I think if you are going for a more processed sound and use alot of effects, i would definitely have it in the chain. But if you are a bass to amp purist, leave it be.
My experience has been that usually compression is a front of house thing and not so much rig. FOH will have one on bass regardless, and double compression seems fruitless. Depending on the style, bass has a hard enough time sitting in the mix without another hurdle. There are exceptions to this; for instance very mid range heavy and distorted tones such as Billy Sheehan. As a six string player for 30 years, playing different styles, I find them overly controlling and redundant to what FOH has.
Adding one to a rig is a great way to squash your dynamics and sustain. Unless of course your goal is to have another pedal on your board, if so then go for it.
Adding one to a rig is a great way to squash your dynamics and sustain. Unless of course your goal is to have another pedal on your board, if so then go for it.
