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Markbass Compressore just isn't doing it for me
- Thread starter show-stoppers
- Start date
I used my new-to-me Compressore on one gig with one bass. Let me tell ya, if the yellow LED is on fulltime, you've done something terribly wrong. Here's what I've gleaned (in terms of settings) from another thread and my own misadventure:
Gain 1:00
Threshold 10:00
Ratio 10:00
Attack 10-11:00
Release 11-12:00
Riis
Gain 1:00
Threshold 10:00
Ratio 10:00
Attack 10-11:00
Release 11-12:00
Riis
I use EBS multicomp and Aguilar preamp/DI,in that order,and I am very happy with it. EBS compressor is very simple to use,yet effective. Aguilar takes the compressed signal with its great tone shaping EQ and boost through DI out - I got compliments all the time for my sound.
RedLeg
Supporting Member
If it aint working for you it aint working for you. I love mine. Here are my settings
9
12
12
8
10
9
9
12
12
8
10
9
My only compressor, dbx 160x, 20+ years old has been acting up. I said "screw it" I took it out yesterday. My sound is still awesome 
. My playing still haf much to be desired but the bassses sound great. Bongo, Stingray, Amer Std Jazz and Squier Jazz. All great. Fingered, slapped, picked. Played a gig last night...awesome. I don't know what to do now. Consider that maybe less is, indeed, more. I never did use a lot of compression. Try adjusting settings so that the compressor isn't kicking in all the time.
. My playing still haf much to be desired but the bassses sound great. Bongo, Stingray, Amer Std Jazz and Squier Jazz. All great. Fingered, slapped, picked. Played a gig last night...awesome. I don't know what to do now. Consider that maybe less is, indeed, more. I never did use a lot of compression. Try adjusting settings so that the compressor isn't kicking in all the time.
You're looking at the Cali 76 TX-P-LTD or TX-LP-LTD. Both of those have the parallel option and are limited production models, and IIRC that's what they charge here in the States. you'd probably be just as well served with the Lundahl-only option which is the TX-L at $564 USD (716 CDN). there's literally no currency conversion mark-up at that price.
I love my Compressore. As I almost always have some overdrive on, I don't rely on it more than a limiter but it adds something to my "clean-ish" tone that I love. Definitely agree with the comments regarding using it so the yellow light comes on sparingly. The controls are very strong and small changes in ratio and threshold make a huge difference.
Pedal compressors are apparently a lot different from studio ones. I don't have a pedal comp yet, but have been shopping a few.
However...the way threshold works in concept in a studio setting is that you start with the threshold at max. -0.0dB. Then you REDUCE it to taste, where it interacts with your signal wherever it's set (by the gain or simply by what's coming in). In my mind, that would have the knob at max/10, then turning it down to lower the threshold and thus increase the compression.
That's not how pedals usually work, though, huh?
Also...I see the Empress doesn't have a threshold control at all. I guess you just crank up the gain on that sucker, and it pushes it into the hardwired threshold they set.
Idunno. Riddle me por favor.
However...the way threshold works in concept in a studio setting is that you start with the threshold at max. -0.0dB. Then you REDUCE it to taste, where it interacts with your signal wherever it's set (by the gain or simply by what's coming in). In my mind, that would have the knob at max/10, then turning it down to lower the threshold and thus increase the compression.
That's not how pedals usually work, though, huh?
Also...I see the Empress doesn't have a threshold control at all. I guess you just crank up the gain on that sucker, and it pushes it into the hardwired threshold they set.
Idunno. Riddle me por favor.
I liked the EBS a lot too. Great comp in the same simplistic, yet effective vein as the Diamond. Standard 9volt with battery option, small footprint, plus cool multiband setting were among its strong suits.
bongomania
Commercial User
Weelll, it's a mistake to say "pedals" are one way while "studio" comps are another way. There are pedals with threshold controls, and there are rack units which use input gain boosted across a fixed threshold.
Plus, with some units that do have a threshold knob, what it controls is... wait for it... input gain.
Sorry. let me clarify. I initially thought that Canadian reseller was gouging charging 749 for a 349 pedal that is hard to find here. Of course I later realized this was the Transformer model and that they also had the standard pedal listed for a reasonable price on another page. In short; my bad.
I've ordered a BCP-1 thanks to everyone's input, and exhaustive reading of Bongo's reviews. I'm sure it's been said many times, but the effort you have put into testing and reviewing all that gear is a remarkable service to the bass community. Thank you!
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Definitely an oversimplification, but the general trends seem to lean those ways, albeit expressed in a few different fashions, from the "Sustain" knob on the CS-2 to the "Sensitivity" on the Dyna Comp. I believe, though, that both of those push the input gain; doing so, I'd imagine, is more popular on pedals because of the desire to avoid the audible gain reduction that a pure threshold change would cause, which would audibly change how much signal is afterward pushing an amp or a drive pedal.
And a pretty common feature in studio compressors (esp. software ones, with which I have more experience) is auto gain makeup, which can be pretty dramatic and makes the comp behave a lot more like an input gain push type. I definitely prefer the classic gain reduction approach in the studio, since I like micromanaging my headroom on each channel of a mix, but each has its uses for style & effect for sure.
As for the Compressore...it's evidently got both. One could push the gain up, or lower the threshold, it looks like. Good way to put that tube to use, but abusing the living hell out of those knobs could make for some fun squish too.
I reluctantly sold my Compressore a few months back due to the two tube driven pre's I'm now running......I loved it! Talk about adding a ton of nice warmth to your tone. It's all in the settings my friend.
Exactly!
Also, increasing the input gain across a fixed threshold is a nice way to improve S/N ratios. It works well in a lot of designs that have the signal headroom for it.
But for some FET compressors, increasing the input gain can be a problem or a feature (depending on how you look at it) with larger amounts of distortion. Simple FET attenuators usually need small audio signals (less than approx 100mV) to remain in the linear portion of their conduction curve. When the audio signal exceeds that linear operating region of the FET attenuator, then non-linear attenuation will be present on the peeks of the signal. Some like the added distortions, because they can be very pleasant sounding. "Character" and "warm" are usually used in describing this type of compressor distortion.
IMO, pedal compressors have really evolved over the past ten years or so. Where the differences of rack vs pedal is becoming more of a format choice.
-Frank
I recently got a second Compressore because I missed it. Playing with it I found the best way to set it is to get the volume and gain around unity with out distortion and gradually lower the threshold until I see and hear activation.
There is too much mud for me when the threshold is too low, I don't dig the extreme settings of threshold unless I am trying to get something weird.
The original post has the threshold set very low by my experience, of course my experience doesn't mean a whole lot with different input source, dynamics and levels.
There is too much mud for me when the threshold is too low, I don't dig the extreme settings of threshold unless I am trying to get something weird.
The original post has the threshold set very low by my experience, of course my experience doesn't mean a whole lot with different input source, dynamics and levels.
Did the same but went, not with the Diamond, but with a Rane DC 24 rackmount which I mated with my Hughes & Kettner Fortress preamp (both discontinued). This thing has been a blast and interacts well with the H&K as the loop is line level and pre/post EQ switchable (pre sounds better). If you get the crossover and thresholds set correctly, you can actually watch the compressor response transition from one channel to another as you work your way around the fingerboard.
Riis
