It's weird to start getting talked out of buying gear on this site, TBH...
That’s probably because a compressor is one of the most personal gear choices you can make. And whether or not to get a compressor, and which one to get, all depends on the player, the player’s goals, the instrument, the amp, and to some extent the genre. So most experienced compressor users tend to hesitate recommending anything as a definite buy for someone else without knowing a whole lot more.
The main things you want to consider are: (a) what your sonic goal is; (b) the degree of control you require - or just want - over the individual compression parameters; and (c) what additional features you want.
Compressors basically fall into two broad categories. “Transparent” compressors like the Keeley Bassist are primarily designed to provide clean signal limiting with minimal effect on the original tone. “Colorizing” compressors like the Doc Lloyd Photon Death Ray are designed to provide limiting along with some tone enhancement. If you’re happy with your sound already, then you’ll likely opt for a transparent compressor. If you’re looking more to add some ‘special sauce’ to your sound - or you approach compression more as an effect than you do a signal shaper - then a colorizing compressor is likely to appeal to you more.
How much control over the individual compressor parameters (threshold, ratio, attack, release, and make up gain) you want will also affect your buying decision. Virtually every modern compressor pedal will have a threshold, ratio, and gain knob. Some will have separate attack and decay controls. Others will either automate those settings and dynamically adjust them, or have them preset to a known good pair of A/D settings. And a few will provide a switch that lets you choose whether you want to set them yourself or let the compressor handle it.
I find that for bass guitar (with most compressors) I can manage quite well with just a threshold, ratio, and gain control since 125dB/sec is a “just sounds good” metric which basically means the attack time gets set roughly 75 to 100 times faster than the release time. This works for most situations. Or at least it does for me most times. Still, YMMV.
When it comes to additional features, the sky’s the limit for what’s available. Metering, internal and external side-chaining, an internal audio transformer, tilt or other EQ controls, a blend knob, effect and dry output jacks… you name it. The only limits are your imagination and your budget.
Another thing to be aware of is not all compressors are bass friendly or happy with an active bass plugged into them. Most compressors built within the last decade or so can handle and work well with anything you hand them. But some are significantly better suited for bass players than others.
Bottom line? You first need to clarify what you’re looking for a compressor to do for you. Second, you’ll want to educate yourself on how they work and what each of the parameter settings actually do and how they interact with each other. And then you’ll need to do some research to find which box looks like it’ll be right for you. Fortunately, there’s a sticky thread under TB’s Effects category where you can ask questions, read opinions and reviews, and generally jaw with the compression neophytes and geeks here at Talkbass. TB member and moderator Scubaduba also has his own
review site where you can get honest and unbiased reviews of dozens of compressor pedals by an actual fellow bass player. It’s a goldmine of good info well worth visiting.
Happy compressor hunting!
