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OVNIFX Smoothie Compressor

#301
eeyorebass said:
What I'm after is more "polish and punch" than "smooth and sustained," and I like how optical comps are described as 'organic.' In what situations would you use the Smoothie instead of an optical (like the PWNZOR, Whirlwind, etc), or vice versa?
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Well, it's messy. We're not only "dancing about architecture" as the saying goes, we are dancing about architecture that is hard to see in the first place.

The Whirlwind OC and the Smoothie both have a similar "fattish but not significantly colored" sound with a smooth even envelope shape. Their main differences are in the particulars of the controls, and the physical format (size of the box etc.).

Either one would get you in the "polish and punch" zone by choosing a lower ratio (toggle "compress" on the Whirlwind, or a low Sust knob setting on the Smoothie). Any reasonably transparent comp with no loss of highs, and a low ratio available, will do the job.

If I wanted more of a syrupy sound I would go for an optical with a more exaggerated inherent effect on the envelope shape. If I wanted a harder, more clinical sound I would go with a VCA type comp like the Maxon CP9Pro+.
 
#302
bongomania said:
Well, it's messy. We're not only "dancing about architecture" as the saying goes, we are dancing about architecture that is hard to see in the first place.

The Whirlwind OC and the Smoothie both have a similar "fattish but not significantly colored" sound with a smooth even envelope shape. Their main differences are in the particulars of the controls, and the physical format (size of the box etc.).

Either one would get you in the "polish and punch" zone by choosing a lower ratio (toggle "compress" on the Whirlwind, or a low Sust knob setting on the Smoothie). Any reasonably transparent comp with no loss of highs, and a low ratio available, will do the job.

If I wanted more of a syrupy sound I would go for an optical with a more exaggerated inherent effect on the envelope shape. If I wanted a harder, more clinical sound I would go with a VCA type comp like the Maxon CP9Pro+.
Click to expand...

Thanks for the reply and info. I think my tendency toward optical comps in the past was "listening with my eyes" as much as anything. I haven't used a comp in years, but have been giving them a lot of thought lately.

Thanks , as always, for all the help and info.
 
#303
bongomania said:
Note to Walter and Nick: For some reason the USPS site keeps crashing and won't let me print your postage--and on top of that my email server is acting up so it wouldn't let me email you to apologize for the delay! Must be the heat? Anyway I won't be able to get to the post office before closing today, but one way or another I will get your pedals in the mail tomorrow. Sorry I couldn't get it done today!

Johan, your postage was printed before the USPS site jammed up, so your pedal is en route. :)
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Thanks for the update. Much appreciated.

Nick
 
#304
just received my #16 of 16 (first batch)......I love it....I think the Empress will be for sale soon, as for the sfx Comp, well I still really like the form factor and might just keep it for a smaller board.

Still trying to figure out exactly what the knobs do, will have to reread the post for "favorite settings" and try them out, so far it's a keeper....thanks Cyrus.....and since it was made in Poland I did not have to pay duty (yippee).....

If anyone else would like to share their "favorite settings" it would certainly be appreciated....thx
 
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#306
Well, there's an article in my FAQ about where in the chain to put a compressor, but the short version is that you typically want it after any effects that put out big volume spikes (like a filter), and also after any effects where you want the most dynamic input signal hitting them (like an overdrive).
 
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#307
bongomania said:
Well, there's an article in my FAQ about where in the chain to put a compressor, but the short version is that you typically want it after any effects that put out big volume spikes (like a filter), and also after any effects where you want the most dynamic input signal hitting them (like an overdrive).
Click to expand...

So basically....last(-ish), usually, unless you have a really good reason to place it elsewhere?
 
#308
mysteryclock said:
So basically....last(-ish), usually, unless you have a really good reason to place it elsewhere?
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I think there's a little more to it than that if you check Bongo's article out. I actually almost think of it the opposite---I put it early unless there is a reason to do otherwise. I put it after my filter (to control peaks and allow dynamic responsiveness), but before pretty much everything else. I'm okay with it before dirt if you set it correctly.
 
#309
Adamixoye said:
I think there's a little more to it than that if you check Bongo's article out. I actually almost think of it the opposite---I put it early unless there is a reason to do otherwise. I put it after my filter (to control peaks and allow dynamic responsiveness), but before pretty much everything else. I'm okay with it before dirt if you set it correctly.
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+1 That's how I set up my comp. Up right after the envelope filter and before the dirt. If I want the dirt ro respond to the dynamics, I switch off the compressor.
 
#310
Same here, actually, I typically switch off compression when I'm using dirt and vice versa. But of course it is all up to personal taste and settings. Here's that article: http://www.ovnilab.com/articles/chain.shtml
FWIW I'm going to revise the bit about tremolo, because the way it's written now is oversimplified, and I have been running trem --> compressor with good results.
 
#318
Added the Smoothie to my gig rig and it's been serving me very well. (It's my only pedal, and I put it in front of my amp.)

Bongo, a tech question:

I'm running it on a battery, and I wanted your recommendation when to change it. I've got a McMillan Batt-o-Meter, so I can read the voltage of the batt very easily.
 

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