Let's talk about compressors

[eigentone]

Wow! This is a treasure trove of info and you guys rock... having a forum to talk about stuff like this is why I joined TB in the first place, after lurking for a long time.

Hearing a lot of love for the Diamond and the Demeter pedals... I checked out some videos, and they seem to add a good bit of click... since my main gig is reggae, that's not really what I'm looking for (though I haven't played around with them in person yet.) I'm a professional musician and studied music in school, so I'm super confident in my right-hand technique, but I'm positive that there's something to be gained from compression. Any recommendations for settings or videos that really demonstrate a thick, balanced sound out of your amp? I'm sure the sound guy will be happy with compression on my signal, but I also want to sound nice and thick in my stage mix.

Thanks, all!

For sure, Compression can be a good effect. Again, I recommend using it judiciously.

I tend to favor a very low threshold (try -50 dB) and a very low ratio (try 1.5:1). Attack and Release depend on the tune. You don't want to go too fast with either on signals with strong lows. I'll sometimes roll off the lows using a HPF into the sidechain to avoid the comp overreacting to the lows. You won't find all of these parameters or sidechains on all compressors, but a lot of studio comps have them. Then Threshold becomes the primary modifier for effect amount. This is good for a more subtle fattening sustain.

If you want limiting, then dial in a fast attack, fast release, high ratio (try 10:1) and threshold as needed -- so it reduces gain only at your loudest transients.

If you want some pizzazz, then try something in between with a ratio around 3:1 -- fast decay, moderate attack, threshold to desired effect amount. Then you'd often add some gain (over-)compensation to hit the input harder to finish off the effect that you are playing more loudly.

Those are a few starting points. Fundamentally, many good compressors operate in similar ways.

 

[monsterthompson]

Wow! Darkglass gets a lot of love on this forum, but the Super Symmetry isn't getting any mentions. I personally use an MXR M87, because I think it does it's job.

Had one. It does one trick. The knobs didn't change the sound much. It darkens, thickens, and warms the tone a little. Far better compressors are available for my money. Well, by better I mean ones with more flexibility and range. If you like what it does, then it's a fine pedal.

 

[TheLowDown33]

I'm going to say that my Keeley Bassist is similar. I Like it better than my MXR for it's simplicity and it sounds fantastic. I don't think it does much to my tone. Anyone else agree about their Keeley ?

Never used the Keeley but based on the reviews and the fact that the guy changed the effects game, I'm sure its a fantastic device.

 

[engedi1]

OK! My Fea Opti-Fet came in, and I think I'm in love. I got this pedal mainly for the side chain, which is doing exactly what I hoped it would do and let the E and B string be really balanced with the D and G string. I still learning how to use it, but with my Bluesman Vintage 5 string at least I really like the coloration this pedal provides. It provides greater clarity and a fatter tone at the same time, somehow. I am really digging it so far. It is past the $200 budget, even used, but not by much and I would highly recommend it. I has more features than i'll probably ever use with the loop option, but it's nice that they are there. And it is built like a tank, couldn't ask for better build quality. These first thoughts are at my house where I can't really crank it up. Gigging situation is the test as it always. But fatter tone and greater presence and clarity are what I want from my compressor, and even balance across all 5 string puts a smile on my face.

 

[NoiseNinja]

I used to use my EHX Black Finger (tube driven optical compressor) as an always on pedal first in my chain, with kind of medium compression with a short attack time, this beside accentuating my attacks also saw to that my tone in general got a bit more defined as compressors tend to bring the weaker harmonic content on level with the stronger harmonic content, and beside that I used it as a slight boost as well.

I never really had any use of it to smooth out my play as I got relatively fine control over that part myself.

However recently I relocated it to last in my affect chain, and it changed function as well to mainly functioning as a tube preamp (as it basically is build as a tube preamp with an optical compressor circuit in between the tube input stage and the tube output stage) set to about breakup point, so it will overdrive slightly when I dig hard in, still with a slight boost and still always on, but with just a tad bit a light compression with slow attack.

I found that after I switched from mainly using finger picking to mainly using pick I didn't really need it to accentuate my attacks anymore, and functioning as a tube preamp it sounds killer and further more gives my playing a bit more dynamic range as I turned down the amount of compression considerably.

 

[Williamsburgjim]

... I just started to use compression in a live setting and the only things I'll add to the mix is 1- it helps prevent my monitor from thermal overload when volumes get loud and 2- it is sure nice to have switching back and forth from slap and fingerstyle where I don't have to turn down or fiddle with my bass volume/ active preamp eq as much. I will say playing at home versus live, where I need more threshold for whatever reason...

 

[engedi1]

I used to use my EHX Black Finger (tube driven optical compressor) as an always on pedal first in my chain, with kind of medium compression with a short attack time, this beside accentuating my attacks also saw to that my tone in general got a bit more defined as compressors tend to bring the weaker harmonic content on level with the stronger harmonic content, and beside that it used it as a slight boost as well.

I never really had any use of it to smooth out my play as I got relatively fine control over that part myself.

However recently I relocated it to last in my affect chain, and it changed function as well to mainly functioning as a tube preamp (as it basically is build as a tube preamp with an optical compressor circuit in between the tube input stage and the tube output stage) set to about breakup point, so it will overdrive slightly when I dig hard in, still with a slight boost and still always on, but with just a tad bit a light compression with slow attack.

I found that after I switched from mainly using finger picking to mainly using pick I didn't really need it to accentuate my attacks anymore, and functioning as a tube preamp it sound killer and further more gives my playing a bit more dynamic range as I turned down the amount of compression considerably.

Blackfinger is really cool. I kinda miss mine. I also used to have the 2UBE preamp which was even better for what you are talking about.

 

[Fuzzbass]

I'm a professional musician and studied music in school, so I'm super confident in my right-hand technique, but I'm positive that there's something to be gained from compression. Any recommendations for settings or videos that really demonstrate a thick, balanced sound out of your amp? I'm sure the sound guy will be happy with compression on my signal, but I also want to sound nice and thick in my stage mix.

Thanks, all!

An utter falsehood that refuses to go away is that compression exists to compensate for poor technique. I'm glad you see past that childish BS. Compression is universally used by sound engineers for a multitude of reasons. My point isn't that everyone should use compression; just saying that it's an amazingly useful tool that bassists in particular should understand (e.g. many guitarists get their compression from overdrive/distortion).

Anyway... the Ovnilab site has already been mentioned, but I'll mention it again because it not only contains compressor reviews, but also a FAQ on what compression is and how to use it.

There are many kinds of compressors; they offer a wide variety of controls. Some bassists I know who fully understand compression still choose simpler ones such as the Keeley Bassist because the attack/release algorithms work better for them than manual controls. Others prefer to have full featured compressors, where all parameters are user-adjustable.

I personally prefer parallel compression: the ability to mix compressed and uncompressed signal. (Compressors usually don't say they are "parallel"; they will typically have a Blend or Mix knob). My most common usage is subtle thickening that helps me sit better in the mix while retaining dynamics and transparency: I don't notice the compression is on until I turn it off. Parallel compression isn't the only way to get that transparent thickening; just sayin' it's what works for me. Another technique I use which is a little more noticeable is to use a higher compression ratio, but mixing in a lot of uncompressed signal, so I get tube-like fattening without dynamic flattening.

I'll add one caveat: same as with other kinds of pedals, some compressors don't perform well with hot active basses. The Diamond BCP-1 sounded great with my passives, but got too squishy with my hotter actives. Both compressors I currently own (Empress, Origin Cali76) play well with all my basses, but are outside your budget.

 

[NoiseNinja]

Blackfinger is really cool. I kinda miss mine. I also used to have the 2UBE preamp which was even better for what you are talking about.

Absolutely, though as far as I remember the sound of my LPB 2ube, which I was stupid enough to sell as well, I like the Black Finger even better, at least for bass.

I still regret selling though, since they are not in production anymore and hard to find used, while the Black Finger is still in production.

Anyway both amazing sounding units, and quite cheap taking in consideration they utilize 2 high voltage tubes (run at 300V), both one in the input stage and output stage, something you normally would have to pay considerably more for than what is the case for these (Just around 200$ from new).

 

[engedi1]

Yeah, I'm still kicking myself for selling the 2ube.

 

[Hi-End Basses]

Yeah, I'm still kicking myself for selling the 2ube.

Anyone whose been playing Bass long enough will encounter seller's regret. It's inevitable.

 

[engedi1]

Anyone whose been playing Bass long enough will encounter seller's regret. It's inevitable.

yep, 25 years of playing now, and I have mostly regretted everything I have ever sold, with a few exceptions. Dumbest thing I ever sold was my Yamaha bb-5000. It was my first five string and I would give my arm to get it back.

 

[Seanbassplayer]

yep, 25 years of playing now, and I have mostly regretted everything I have ever sold, with a few exceptions. Dumbest thing I ever sold was my Yamaha bb-5000. It was my first five string and I would give my arm to get it back.

But then you couldn't play it lol.. how about a leg instead then you don't have to stand on stage all night.. you can just sit lol

 

[smperry]

I'm not deleting posts or doing infractions right now, but the title of the thread is "Let's Talk About Compressors" and this the Effects forum. Let's get back to that please. Thanks.

Edit: the vast majority of posts are fine. I'm referring to any "don't use compressors" type posts that may come.

 

[Hi-End Basses]

yep, 25 years of playing now, and I have mostly regretted everything I have ever sold, with a few exceptions. Dumbest thing I ever sold was my Yamaha bb-5000. It was my first five string and I would give my arm to get it back.

I hear you loud and clear! I once sold a Zebra wood gloss Spector Euro DLX. I also sold an Ibanez BTB 7 string once. Not to even mention pedals.

 

[singlemalt]

I don't know...I applied a massive amount of compression to my gear list.

Sold everything until I was down to one bass, an amp or two, the Zoom B3, my big looper, and, wait for it... my Smoothie compressor.

Keeping it simple has been working for me. No regrets about things that I sold, they needed to move on.

Of course, there's a forum's worth of effects to play with in the Zoom.

And I did backslide a bit and bought a Pitchfork for that elusive octave up function. Tracks quite nicely. Cool octave down, and will do both up and down together along with a latch function...

 

[Low Commotion]

Step one - Compressor Reviews

Step two - what are you looking for a compressor to do? (tone enhance, peak limit, squish, grit, etc.)

Step three - what is your budget?

I agree with monsterthompson. Understand what a compressor is and does, what do you want it for and read the reviews.

I have an MXR M87 that I bought new a few years ago and it still looks the day i got it. I didn’t take the time to understand how this pedal is supposed to work and I couldn’t get it to work properly. So it stayed in the box until today.

Thanks to Bongomania and Link Removed, I now understand how a compressor is supposed to work. I took the time to read and understand their material and now this is the best little pedal I have. I can make it work properly and can actually hear the difference. My advice is to read through their explanations and Bongomania’s reviews and go from there.

 

[Nunovsky]

I've recently receive my new compressor, a Cali76 Compact Bass. For many years I've used the EBS Multicomp and it was my always on pedal all this time.
I've read a lot of reviews about the Cali76 and I've decided to invest in a good compressor since I've been playing on a regular basis and I feel that it's important to have good tools to do a good job.
And let me tell you, this is an amazing pedal and I've only scratched the surface of what it can do. It's the best quality built pedal that I've laid my hands on and the only thing I can say about it is that it makes me sound better.
The notes gain definition an clarity without having to mess with eq ou volume. It really makes a great diference to my sound and the way it helps my bass become more present in the mix on live settings.
I thought that the EBS was good, but this one is definetly better. And worth the price...

 

[Xandrell]

Absolutely.

All of the Warm Audio stuff is really excellent; I do wish they'd added an attenuator to their Pultec EQ to allow you to remove the 6dB bump and leave the gain staging unchanged, but after using a bunch of their stuff lately I only have glowing praises for them.

Not quite pedalboard sized...but still

Even their Neumann U87 clone is quite close to the original for around 1/20th the cost of a vintage one.

Apologies to the thread for feeding the troll...I should have stopped a few pages ago when he suggested that classical music was a good example of modern music with electric bass and no compression

I'm finding that line level compressors inserted in the loop of my SVT 2 Pro aren't getting the level they need. Both the Distressor and WA 76 need the input pretty much maxed out. The problem is I have to turn the gain up for the level they need but I prefer the sound from driving the power tubes. I've tried the pre out amp in as well but that's worse. I'm thinking about trying the balanced line out that has a level adjustment and effect return. The comps are looking for a balanced signal anyway.

 

[rockinrayduke]

I don't use compression... I have learned to control my dynamics and frankly don't feel the want or need to give full control of my dynamics to FOH.

Then you add nothing to the conversation.

As someone suggested a few posts back check out the Ovnilab compressor reviews site, very helpful. I'm down to my Aguilar comp and a Smoothie, I find the Smoothie gives me what my ears want right now.