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I made the logical decision, right? Compressors, again!
- Thread starter willsellout
- Start date
Yes, there are ways to generate a second harmonic. The FEA Growler's main purpose was to generate a second. Here is the manual if you're interested (Look at FFT plots on page 5):
http://www.fealabs.com/wp-content/uploads/2017/06/GROWLER-0001-Printable.pdf
I liked very subtle amounts of the second harmonic otherwise it sounds too synthetic for me.
-Frank
But, but, but, you don't make them anymore!
There are several other ways to get more even harmonics for signal "warming or sweeteners". Since this thread is a compressor adventure and @willsellout has mentioned the DE-CL, I will briefly explain the DE-CL's warmth circuit.
Asymmetrical signal distortion is a common way to get more even order harmonics. You will see this in the many dirt boxes that use asymmetrical clipping. What the DE-CL does is use asymmetrical amplification (not clipping) for the low frequencies to add subtle harmonics.
-Frank
I remember always using the DE-CL warmth knob at around 10' when I owned my first (and not last) DE-CL. It was great up until around noon if I remember correctly.
The current warmth circuit isn't as extreme as the original. Not many people could use the upper half of the warmth knob because it would get weird sounding. The range over the whole knob rotation is dialed back, so if you liked the original warmth control at about noon you will need to adjust the newer pedals to about 3-4 o'clock.
-Frank
Do you ever say:
"How did I end up here?"
I was thinking about a used MB, Diamond, Empress, Bassist, or Duncan compressor in the $150ish range.
Now I want a FEA DE-CL that is probably about $300 shipped and not currently available.
How did I get here anyway....
"How did I end up here?"
I was thinking about a used MB, Diamond, Empress, Bassist, or Duncan compressor in the $150ish range.
Now I want a FEA DE-CL that is probably about $300 shipped and not currently available.
How did I get here anyway....
Same here.... I ordered a Duncan to check out as well, but the FEA is calling my name. Especially since I'm such a compressor geek
The Diamonds are cool, but I actually find the fairly significant coloration and set low ratio a bit of a negative(for me). For some its going to be an absolutely wonderful unit though!
I wouldn't worry about the warranty with FEA pedals, they stand by their products and I've not ever really heard of one breaking. As a side note, Im having a REAL hard time letting go of the Diamond.
I can't keep both of these pedals, unfortunately. There are things I want more than two compressors, especially since my playing doesn't really require a whole lot of compression in the first place. The more I play the FEA and Diamond side by side the more I tend to lean towards the Diamond tonally. I think what I really like about it is the added, whatever it is, that comes when you switch the Diamond on. The FEA is just very transparent and organic sounding, very polite and controlled. The Diamond is a bit more ballsy, brash, girthy, and wild especially when I combine it with my MBD-1. These are two completely different compressors. I like both, a lot. I need to get rid of one of them.
Does the approx. 3:1 compression of the Diamond enough to smooth normal playing?
I usually use 4:1 but have used higher amounts as more of a peak limiter.
My other question is something Kirk brought up regarding the ability to mix a dry signal along a compressed signal.
Do you miss this mix feature or did you even find it useful?
I usually use 4:1 but have used higher amounts as more of a peak limiter.
My other question is something Kirk brought up regarding the ability to mix a dry signal along a compressed signal.
Do you miss this mix feature or did you even find it useful?
For my playing the 3:1 works just fine. I can tell you that I keep the FEA at right around a 4:1 ratio for the lows and a 3:1 ratio for the highs and with the flexibility of the dual bands, the FEA does a better job at just about everything. It really comes down to that something extra that the Diamond brings. As far as the blend on the Empress vs. the no blend on these two, I don't miss it. I kept the signal mostly wet on the Empress anyway. I do really appreciate how flexible the FEA is by having split compression for the high and low and being able to choose the crossover. I honestly find that way more useful than a blend. It makes a pretty dramatic difference in what you hear when it leaves the pedal, that's for sure.
I think the blend is most useful with heavy squash. Heavy squash = more sustain and blending that into your dry signal is really cool. I didn't find much benefit of blending dry with light compression.
-Frank
-Frank
Bringing this one back for a moment. I figured the discussion & comparisons here were on-point, so i wanted to add to it. This will be long...
I've been using the Diamond BCP-1 for about a month now, and I just picked up a FEA Opti-FET (v2) this week. The first night I had the FEA, I was just toying with all of the controls and dip-switches at more extreme settings to feel things out before dialing it in. Here's what I typically look for in a comp:
The FEA, in comparison, seems more natural and balanced to my ears. My settings are Threshold ~ 2-3:00 / Ratio ~ 8-9:00 / Attack ~ 12:00 / Release ~ 9:00 & I back off the lows and mids in the side-chain a bit to keep from over-compressing when i dig in. I have the "Warmth-1" dip switch engaged with the other two off.
When I finally dialed in these settings, I was initially surprised by the comparison with the Diamond, since it made the lows & low-mids of the FEA seem restrained. But after playing through some different styles and lines, I found that the FEA wasn't taking anything away. Rather, the Diamond was adding those sub-frequencies that made the low end seem a bit fatter/deeper. With that being said, the Opti-FET was more balanced and punchy sounding. Once I really started getting into the lower register while comparing the two, I could hear that the FEA sounded more responsive and dynamic. While the Diamond adds some depth to the lows, that depth is sort of open and sounds a bit mushy/flabby in comparison. That's not to say the Diamond is a flabby compressor - it is not. I think it's more a testament to how accurate and precise the Opti-FET sounds. The warmth & tone magic of the FEA is less apparent and in-your-face relative to the Diamond, but it sounds very tight and even. This is especially true when playing a line that crosses all strings in a given register. If you had any imbalances between strings or notes, the Opti-FET does an excellent job of evening that out without killing your dynamics. When going into the upper registers the Opti-FET has more balance and remains articulate, whereas that enhancement in the Diamond's lows & low-mids can start to sound a bit boomy.
For me, the Opti-FET seems like a very precise compressor first and subtle tone enhancement is sort of a bonus feature. Conversely, the Diamond sounds/feels more like a magic box that has some compression as a bonus feature. I think the best way I can describe it is that the Diamond noticeably alters your tone - it may not be as dramatic as a dirty boost or fat boost, but it changes the sound of your bass. It seems to make my two tonally-unique jazz basses sound more similar to one another. The Opti-FET has more subtlety and transparency, which enhances the inherent tone of your instrument. I can still hear the unique character of each bass, but the Opti-FET cleans up and tightens everything.
Bottom Line: You notice the Diamond as soon as you engage it, but you miss the Opti-FET as soon as you turn it off...
I've been using the Diamond BCP-1 for about a month now, and I just picked up a FEA Opti-FET (v2) this week. The first night I had the FEA, I was just toying with all of the controls and dip-switches at more extreme settings to feel things out before dialing it in. Here's what I typically look for in a comp:
- Mild compression - when measurable it's typically been somewhere in the 2:1 - 4:1 realm.
- Added evenness across strings - on my two main basses this typically means it is bringing up the G & D strings a hair.
- Tightness (without loss or roll-off) in the lows/low-mids. This tends to be subtle, but I can really hear it on staccato lines and slap playing.
- Presence of attack so i can maintain some growl & bite.
- Some warmth/sheen without attenuating the highs.
The FEA, in comparison, seems more natural and balanced to my ears. My settings are Threshold ~ 2-3:00 / Ratio ~ 8-9:00 / Attack ~ 12:00 / Release ~ 9:00 & I back off the lows and mids in the side-chain a bit to keep from over-compressing when i dig in. I have the "Warmth-1" dip switch engaged with the other two off.
When I finally dialed in these settings, I was initially surprised by the comparison with the Diamond, since it made the lows & low-mids of the FEA seem restrained. But after playing through some different styles and lines, I found that the FEA wasn't taking anything away. Rather, the Diamond was adding those sub-frequencies that made the low end seem a bit fatter/deeper. With that being said, the Opti-FET was more balanced and punchy sounding. Once I really started getting into the lower register while comparing the two, I could hear that the FEA sounded more responsive and dynamic. While the Diamond adds some depth to the lows, that depth is sort of open and sounds a bit mushy/flabby in comparison. That's not to say the Diamond is a flabby compressor - it is not. I think it's more a testament to how accurate and precise the Opti-FET sounds. The warmth & tone magic of the FEA is less apparent and in-your-face relative to the Diamond, but it sounds very tight and even. This is especially true when playing a line that crosses all strings in a given register. If you had any imbalances between strings or notes, the Opti-FET does an excellent job of evening that out without killing your dynamics. When going into the upper registers the Opti-FET has more balance and remains articulate, whereas that enhancement in the Diamond's lows & low-mids can start to sound a bit boomy.
For me, the Opti-FET seems like a very precise compressor first and subtle tone enhancement is sort of a bonus feature. Conversely, the Diamond sounds/feels more like a magic box that has some compression as a bonus feature. I think the best way I can describe it is that the Diamond noticeably alters your tone - it may not be as dramatic as a dirty boost or fat boost, but it changes the sound of your bass. It seems to make my two tonally-unique jazz basses sound more similar to one another. The Opti-FET has more subtlety and transparency, which enhances the inherent tone of your instrument. I can still hear the unique character of each bass, but the Opti-FET cleans up and tightens everything.
Bottom Line: You notice the Diamond as soon as you engage it, but you miss the Opti-FET as soon as you turn it off...
Having ones both of those compressors at one point of another, I tend to agree with you on all accounts. Great post!
