Which raises the two obvious questions... what is good compression, and what is a good compressor for bass? There are a million of the ****ing things. AND, in my case I'm looking for something to go in a 500 series box, but for live performance.
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To compress or not to compress
- Thread starter trackskinz
- Start date
Which raises the two obvious questions... what is good compression, and what is a good compressor for bass? There are a million of the ****ing things. AND, in my case I'm looking for something to go in a 500 series box, but for live performance.
Compressor and Audio Gear FAQ
all the answers you'll ever need for compressors. I don't think he reviews any for a 500 series, but I know a lot of companies make multiple iterations of their stuff, so some of his review pedals might be available in your format.
I agree - as I stated in an earlier post - it is a highly informative read, but one for me that raised as many questions as it did answers. I now know the right questions to ask, I'm just not sure that there is an answer besides buying some compressors and trying them until I find something I like. I'm also not sure if I need a compressor or a limiter. Or if I need anything...
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You might not need compression (I usually don't use it), but you might still find it useful (I do). Depends on how you'd use it. You said you've been to the Ovnilab site, but in case you haven't caught it, this specific page explains most of the uses of compression (2nd question):
Do you need a compressor?
Do any of these uses interest you? If so: which one(s), and what's your budget? It can also be helpful to know what kind of gear you have. If you can provide that info, the experts here can give you some recommendations to make your decision easier. Note: as I'm sure you expect there is no right answer, but once the field is narrowed it'll be easier for you to choose (should you decide to try compression, that is).
Yup, I read that part too. This is the part that caught my attention:
"Also, even though some people say they don't like compression because they play with a wide range of dynamics, the fact is that carefully applied compression will actually make the entire dynamic range easier to hear, rather than making your signal sound "less dynamic". This is partially about the quality of the compressor, partly about the type of compressor it is, and partly about how the compressor is being used. Failing to adjust the level of the signal going into the compressor can make anyone hate compression. And some compressors just suck."
Pretty sure than I'm looking for a VCA compressor, or possibly an opto. Still not sure if I need limiting or not. I play a lot of funk, R&B, blues, some rock, pit work, small combo jazz stuff, and some big band. I think we can mostly rule out any compression for the jazz and pit stuff, but I think I could definitely use it for the funk/R&B gigs. Yes I do slap. My budget is not unlimited, but I'm not afraid of spending $500 - $1000 for the right piece of equipment. It will be used in a Workhorse box with these other pieces (image attached).
Good research. You did not say anything about using a compressor to shape your tone so I'll assume you're looking for transparency. For that I'd recommend parallel compression: that is, a compressor with a wet/dry blend or mix control. Clean blend isn't mandatory for transparency, but it's particularly effective IME.
I've only tried a few pedal compressors. The ones I currently own and recommend are the Empress Compressor, and the Origin Cali76. My Cali is a limited edition model (with Germanium circuit and Parallel processing) that's no longer in production and sold out... also, it's a HUGE pedal. In its stead I'd recommend the newer Cali Compact Bass. Or, if you don't mind a huge pedal, you could go for one of the fancy Cali76 TX pedals (TX for transformer).
Others on my radar have been the Darkglass SuperSymmetry, and various comps made by FEA. Honorable mention to the OvniFX Smoothie made by Cyrus who runs the Ovnilab site: excellent features at an excellent price. My favorite bass is a hot active so I've been waiting on an updated Smoothie that can better handle those, but the current version plays well with most basses.
Anyway, consider this a bump for recommendations from others.
I've only tried a few pedal compressors. The ones I currently own and recommend are the Empress Compressor, and the Origin Cali76. My Cali is a limited edition model (with Germanium circuit and Parallel processing) that's no longer in production and sold out... also, it's a HUGE pedal. In its stead I'd recommend the newer Cali Compact Bass. Or, if you don't mind a huge pedal, you could go for one of the fancy Cali76 TX pedals (TX for transformer).
Others on my radar have been the Darkglass SuperSymmetry, and various comps made by FEA. Honorable mention to the OvniFX Smoothie made by Cyrus who runs the Ovnilab site: excellent features at an excellent price. My favorite bass is a hot active so I've been waiting on an updated Smoothie that can better handle those, but the current version plays well with most basses.
Anyway, consider this a bump for recommendations from others.
SD studio bass for me too.
Not always on. On for desired effect.
Clean (side chain)signal level with compressed signal level (or nearly so, this way the initial attack is only SLIGHTLY limited) the SD has a switch low, All, mid to select what "band" is sent into the circuit.
I use "all" or "low" setting.
Applied at end of chain in order to:
Add sustain (when needed, keeps average signal "up" as the signal from the tail of the note begins to taper)
Smoothing (still very dynamic, just more even)
And limit when using a pick or really digging in - pull back on clean blend for more limiting (I'm generally a finger style type player with light touch, low action)
Dead simple without additional noise or tonal change.
My usage: you don't notice when it's on, you notice when it's off (in my circumstance as it is used for effect, to achieve specific goals)
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Many thanks! You are correct, I am definitely looking for transparent. Would "tone smoothing" as opposed to "tone sculpting" best describe it?
I had a Smoothie and loved it.
I have a Super Symmetry and love it.
I have an FEA Opti-FET being delivered today
I have a Super Symmetry and love it.
I have an FEA Opti-FET being delivered today
If you're using a SansAmp Di then you are already compressing your tone.
I see it like this:
If you're using an all tube amp and pushing it hard enough to drive the power tubes then you are getting compression that way. Or if you're using always on dirt that clips your signal significantly then you are getting compression that way. And if you always have FOH support you are likely being compressed by the sound man and your own compressor would really just effect your rig and stage volume (if your rig is being used). You can still have a compressor in any of those situations of course, but the possible need is reduced.
If you aren't doing any of those things then you may or may want to add compression. Personally I like having a compressor. Some people don't. You'll have to try it for yourself to see.
But I don't really agree that compressors kill your dynamics (if you aren't using pretty extreme settings that is) and in fact I think a well set up compressor INCREASES your dynamics, which is part of why most guitar players love tube amps.
The range of volume is actually decreased of course but to me that just means the super light plucking is actually heard and harmonics can actually jump out far more. I always set the gain on my compressor so that my hardest slap or pluck is at the same volume with the comp on or off. Then everything else gets pulled into a dynamic range where all the nuances can be heard. That's my view on compression anyway.
I see it like this:
If you're using an all tube amp and pushing it hard enough to drive the power tubes then you are getting compression that way. Or if you're using always on dirt that clips your signal significantly then you are getting compression that way. And if you always have FOH support you are likely being compressed by the sound man and your own compressor would really just effect your rig and stage volume (if your rig is being used). You can still have a compressor in any of those situations of course, but the possible need is reduced.
If you aren't doing any of those things then you may or may want to add compression. Personally I like having a compressor. Some people don't. You'll have to try it for yourself to see.
But I don't really agree that compressors kill your dynamics (if you aren't using pretty extreme settings that is) and in fact I think a well set up compressor INCREASES your dynamics, which is part of why most guitar players love tube amps.
The range of volume is actually decreased of course but to me that just means the super light plucking is actually heard and harmonics can actually jump out far more. I always set the gain on my compressor so that my hardest slap or pluck is at the same volume with the comp on or off. Then everything else gets pulled into a dynamic range where all the nuances can be heard. That's my view on compression anyway.
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We're talking transparency, so I'd suggest going with just "smoothing".
"Dynamic smoothing" would be more accurate, but for me, transparent compression means no apparent loss of dynamics: better placement in the mix; compression so subtle that you only notice it when it's not there. This is similar to what Jared said above, and also Cyrus at Ovnilab.Caveat: compression is far trickier than most effects. This is especially true when going for subtlety/transparency: you sometimes have to go by feel rather than using your ears. The other complication is that there are many different ways to get there. Some prefer compressors with individual controls for input/threshold, attack, ratio, blend, and output, while others prefer basic pedals with just a couple of knobs (with these some of the parameters are either preset, or will automatically adapt to the signal they are given). It's very cool that you've narrowed your choices to either opto or VCA, so I'm sure you'll get the hang of it quickly enough.
We're talking transparency, so I'd suggest going with just "smoothing".
Caveat: compression is far trickier than most effects. This is especially true when going for subtlety/transparency: you sometimes have to go by feel rather than using your ears. The other complication is that there are many different ways to get there. Some prefer compressors with individual controls for input/threshold, attack, ratio, blend, and output, while others prefer basic pedals with just a couple of knobs (with these some of the parameters are either preset, or will automatically adapt to the signal they are given). It's very cool that you've narrowed your choices to either opto or VCA, so I'm sure you'll get the hang of it quickly enough.
Dynamic smoothing it is. Thanks!
bongomania
Commercial User
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Inward Connections The Brute - Vintage King Audio
Based on our PM conversation, and the more recent posts here, these two seem appealing. I haven't tested them myself.
Inward Connections The Brute - Vintage King Audio
Based on our PM conversation, and the more recent posts here, these two seem appealing. I haven't tested them myself.
Compression is the only effect I don't get sick of (it's an always on pedal for me).You're a compress-a-holic?
I've had several folks recommend the Brute, I was drawn to the Stretch because it looks really cool. Is the Stretch a VCA?
Indeed it is, but i'm looking for something in a 500 series format. Anyone got thoughts on the API 527?
