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Let's talk about compressors

#61
I've been using the EBS Multicomp for a some years and I think it's really good and user friendly pedal. Two knobs, 3 way switch and internal pots to fine tune. But recently I felt the need for something more and I've decided do invest in a Cali76 Compact Bass. It should arrive tomorrow and then I'll see if it's everything they say it is.
I can tell you that the compressor does much more than just even up your sound or compensate bad technique. It can add more punch and presence, and bring more clarity to the notes. I use a lot of dynamics change in my playing and I've never felt the compressor interfering with that. I set it as I like and then leave it always on.
It's my "if you could only bring one" pedal.
 
#62
One note about the Diamond that a lot of people are suggesting and I do as well is that you don't necessarily need to get the more expensive Bass version. All it really adds is the option for to set the center point of the EQ lower and the ability to power at 24v. So if you are a passive 4-stringer like me, the regular CPR-1 works just fine and can run up to 18v for more than enough headroom.
 
#63
Nunovsky said:
I've been using the EBS Multicomp for a some years and I think it's really good and user friendly pedal. Two knobs, 3 way switch and internal pots to fine tune. But recently I felt the need for something more and I've decided do invest in a Cali76 Compact Bass. It should arrive tomorrow and then I'll see if it's everything they say it is.
I can tell you that the compressor does much more than just even up your sound or compensate bad technique. It can add more punch and presence, and bring more clarity to the notes. I use a lot of dynamics change in my playing and I've never felt the compressor interfering with that. I set it as I like and then leave it always on.
It's my "if you could only bring one" pedal.
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+1000 to your second paragraph
 
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#64
Zooberwerx said:
I'll got out on a limb here and recommend the Diamond BCP...and I've been thru a handful of comps myself. It's a great top-tier pedal and can be had secondhand for ~$160 if you watch the classifieds. You can spend less and you can spend more but this is the best bang-for-the-buck IMO.

Riis
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I too have the Diamond and it's always on. It's not squishy, and adds this nice warmth to your tone.
 
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#65
Outta left field with my choice - Pigtronix Philosopher Bass. I use it for balance and sustain, and find it works very well before filters and dirt. Lots of negatives about it - 12/18v, completely useless "Grit" switch, a good amount of coloration - but it works for me and I love it.
 
#66
MYLOWFREQ said:
I use a compressor just as a peak limiter when I get aggressive. I tried the Keeley and loved it for what it does.
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My favorite compressor for transparency and versatility, in particular for use as limiter is the Aguilar TLC. However, it's not exactly what I would call a tone enhancer like the Diamond.
 
#67
Jakeman said:
Outta left field with my choice - Pigtronix Philosopher Bass. I use it for balance and sustain, and find it works very well before filters and dirt. Lots of negatives about it - 12/18v, completely useless "Grit" switch, a good amount of coloration - but it works for me and I love it.
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Still curious how the Philosopher Bass compares to Philosopher Micro/Mini unit. I'm assuming very similar. The Micro has a 9v and no Grit.
 
#70
I hate coming in at the tail end of these threads, but I'd like to make a friendly recommendation for visual compression level indicator lights on comp pedals.

I greatly enjoy the level indicators on my empress, and the MXR comp appears to have a nice set of bars as well. These indicator bars identify what amount of compression you're applying to your signal, and can really help in determining what type of response you're actually getting from the pedal.

Welcome to the dark side, and good luck
 
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#72
One thing worth mentioning about the Empress, it's got the full controls of a compressor (separate attack and release, ratio, etc). and they're labeled by their real names (not "sustain" for example). That and the full bar of LEDs, make it a good compressor to learn from, you can get a real feel for compressor settings.

Plus it does sound really good. =)
 
#74
Levin Hannaford said:
I hate coming in at the tail end of these threads, but I'd like to make a friendly recommendation for visual compression level indicator lights on comp pedals.

I greatly enjoy the level indicators on my empress, and the MXR comp appears to have a nice set of bars as well. These indicator bars identify what amount of compression you're applying to your signal, and can really help in determining what type of response you're actually getting from the pedal.
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agreed!
 
#75
Medicine Man said:
This. Markbass compressore sounds great, with a tiny bit of baked in tone, but is huge and has wicked power requirements. I run mine off a Cioksdrool
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Agree. It does have a certain tone. Fortunately it's a really nice tone. Normally I'll mainly use a very transparent compressor (in my case a Keeley Bassist Limiting Amplifier - which is just one type of compressor) for peak limiting in a boomy room like a church.

But lately I've come to enjoy and appreciate that little je nais sais qoui the tube compression that the Markbass Compressore adds for certain things. Especially when used with a fretless bass or ABG. Lovely - even if it chews up a ridiculous anount of floor or board space and requires a 12V 600mA (minimum) power supply. Luckily, it ships with its own properly sized power supply.
 
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#76
USED .. !!

had several ...

the last was a Seymour Duncan Studio Bass ... nice feature set .. !! mix knob .. !! and filter switch for the mixed back in signal ... cool .

current ... a few more $$$ Dark Glass Super Sym ... i like the leds for comp visual feedback & mix .. !!


i prefer a mix/blend knob on just about everything ... !!

our setting are really mostly relative to our gear/gain structure ...


the Keeley Bass Limiter looks pretty cool also , never tried it , but folks say it's pretty transparent ... especially if you're looking for mainly peak limiting ... which is pretty much how i set mine ... it's set differently for guitar - for more sustain .
 
#77
40Hz said:
Agree. It does have a certain tone. Fortunately it's a really nice tone. Normally I'll mainly use a very transparent compressor (in my case a Keeley Bassist Limiting Amplifier - which is just one type of compressor) for peak limiting in a boomy room like a church.

But lately I've come to enjoy and appreciate that little je nais sais qoui the tube compression that the Markbass Compressore adds for certain things. Especially when used with a fretless bass or ABG. Lovely - even if it chews up a ridiculous anount of floor or board space and requires a 12V 600mA (minimum) power supply. Luckily, it ships with its own properly sized power supply.
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Well I guess I agree, because I play fretless!
 
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#79
I own or have owned most all. Quick overview IMO...
Diamond - will definitely color your tone. Good compressor, but definitely imparts a tone
Cali 76TX - My favorite. It's big and bulky. It does color but not nearly as much and just sounds good with everything. True swiss army knife of compressors for me
Cali76 Compact Bass - More transparent and having the HPF and Dry signal makes it really useful. You won't miss not having attack/release controls
EBS Multicomp - A good comp, not totally transparent. Haven't tried the new studio version yet
Demeter compulator - solid, doesn't do anything that stands out. Won't fatten the tone, but its not clinical
Empress - Very precise... almost too precise. I like it but would put it on the sterile side. It's very clean
Markbass Compressore - similar to the Diamond in its own way. Adds something. Can definitely make it bigger
Keeley - Very transparent without being sterile. I have the GC2 and the Pro. Like both on bass alot.
Aguilar TLC - it works well, doesn't really add much to your tone.
Strymon (bass version) - solid compressor... more along the demeter line. Sounds great, but doesn't really give you a "character", but not sterile sounding at the same time
MXR M87 - Solid compressor. I always wanted a little more from it. Not bad at all. Compresses well and doesn't add much.

My favorites - Cali76-TX, Cali76-CB, Keeley Compressor Pro
Most coloration - Diamond BCP, Markbass Compressore.
 
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#80
MDBass said:
A. You don't understand how compression is used to musically enhance a bass signal.

B. Not to be the bearer of bad news, but every single album you've ever heard has multiple stages of compression on the bass, and there's a really strong likelihood the FOH is compressing your signal as well ;)
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False. You're not the "bearer of bad news". You're greatly exaggerating ;)

Most studios operating before I was born didn't even have enough compressors to process the bass individually at mixdown. Remember that due to channel count constraints, mixdown (as we know it today) also occurred during tracking. In fact, there are many recordings from the 50s, 60s, and 70s which didn't even use a dedicated mic/channel for the bass. If your argument is that tapes, tubes, speakers, etc reduce/limit dynamic range, then your entire response is out of context. The only compressor/limiter you can reliably say which was commonly applied to basses would be the one typically applied to the final mix (eg when CDs are mastered). Even then, it's not exclusively applied to bass.

In the studio, we often refer to compressors as Talent Boxes. A compressor isn't the only variety of Talent Box btw.

Compression is often used because the artist doesn't have great technique. This could be a vocalist with poor mic technique or a bassist or drummer without great dynamic/stick control - as a few examples. True, levels can be automated but that is incredibly tedious so people working studios tend to use some compression or limiting to rein in a performer with mediocre technique. IME compression in the studio is used as a timesaver more often than it is as an "enhancement".

Sure, compression can be used for "larger than life" sounds. However, if it's used constantly, the music/instrument lacks dynamic range and the impact is quickly lost because the music is constantly "enhanced". I like to liken it to use of sugar and salt in cooking. Use it judiciously. If you load up everything you cook with sugar and/or salt you will ruin a lot of good food. Of course, compression amounts are genre/style specific.

I really don't get why so many people piled on to @2112 's comment, either. I wish there were more people who could make a good recording without using a compressor as a crutch. It's not a bad thing to aspire to. Dynamics are a big part of a great groove.
 
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