What are your thoughts on compression?

[KeithPas]

For me compression is an effect where a little goes a long way. Unless the compressor is a very good one it hurts more than it helps.

 

[excane]

I've never been a big user of compression except in the studio, (sort of essential)

In a live setting, I use it mainly as a limiter to protect my amp and speakers. Just a dab'll do ya.

 

[afroman]

I think compression is an essential part of great bass sound in recording and also live. When high-quality compression is used the effects are better than w/o it. But when it's a lower quality one, then the sound gets worse instead of better.

I like to use it live for it's balance but more for the color it adds to my tone. It makes my sound a little "sparklier" and more balanced.

Fro slapping I think it works wonders. Just a touch of compression can make everything sound better. If it's not used correctly then that "squashed-no-dynamics" thing people complain about happens.

As with any effect or musical option, when used correctly it shines.

 

[Mystic Michael]

+ someone posted this in the other thread: "It did wonders for Paul McCartney's studio work... But somehow I doubt that it has much role in the playing of Bootsy Collins or Flea.... ."

Yeah, that was me...

I will however submit to a compressor in the studio, not that it is my choice to use one or not anyway as the engineer/producer, at least one that knows what he is doing, knows how he wants to balance out the sound.

The problem is that you're then at the mercy of the engineer and/or producer - as with the sound guy at a live show. If he/she really knows what they're doing, great. If not, your sound can turn to crap in a hurry...

I played a session a few years ago in which the engineer - a guitarist who evidently was clueless about bass - squashed my tone into utter oblivion, and I had to fight like a cornered wolverine to get him to back off on the compression - like way off. Inexperienced engineers can be genuinely intimidated by bass, and will often resort to drastic measures to try to control it - even at the expense of your sound... :scowl:

I think compression is an essential part of great bass sound in recording and also live. When high-quality compression is used the effects are better than w/o it. But when it's a lower quality one, then the sound gets worse instead of better.

I like to use it live for it's balance but more for the color it adds to my tone. It makes my sound a little "sparklier" and more balanced.

Fro slapping I think it works wonders. Just a touch of compression can make everything sound better. If it's not used correctly then that "squashed-no-dynamics" thing people complain about happens.

As with any effect or musical option, when used correctly it shines.

This is my basic take on compression too. A little goes a long way - unless you're purposely going way over the top in order to make a cool new sound with it.

I agree that there is a world of difference between a high-quality professional unit, and an El Crappo special from the Guitar Center discount bin. And although one should always be able to control playing dynamics with good technique - and using a compressor to compensate for poor technique is a crutch - there's something about the way a good compressor - used tastefully - can smooth out and refine your sound that makes it very appealing.

This is what I was getting at by referencing Paul McCartney's studio work on the later Beatles albums - in particular tracks such as Come Together and I Want You (She's So Heavy) from the Abbey Road album, in which fairly heavy compression was used in a skillful, intelligent, musical way that really complemented and enhanced McCartney's style and overall sound...

MM

 

[JimmyM]

The problem is that you're then at the mercy of the engineer and/or producer - as with the sound guy at a live show. If he/she really knows what they're doing, great. If not, your sound can turn to crap in a hurry...

This is why I'm glad we're in a position of being able to micromanage the soundman when we play on most of our gigs. We take full advantage of being up there on the headliner foodchain when we can. And when we're not, hey...can't hear it from my house

 

[katri]

I've started playing with compression recently and I have a TF pulp mill which has a blend control so some of the attack can still push through. But i was in the studio this weekend and I started to think surely the comps with the most control parameters are the best as I was recording through some huge crazy comp that sounded cool and it had a silly amount of controls.

 

[pablomigraine]

I hear a lot of bassists saying things like: "I have never used compression and I never will............."

If you've ever recorded your bass playing ( mic'd, direct, whatever ) into protools or to tape and had that track mixed, or the album mastered........ I got news for you.......

Compression is an essential tool of recording. Even if you went so far as to ask you sound engineer specifically to leave your track comp-free..... it was still squashed if its been mastered.

Now in most cases, we're not talking about Dan Armstrong - type "dip and swell " full-on squeeze or hard-knee limiting.....but chances are good if you have ever recorded a studio track, your signal has seen a digital or analog compressor of some kind at least twice....... more if it was sent out for mastering...

 

[ga_edwards]

I love compression, it is an essential tool in my arsenal. It allows me to play like, well, me. Now I can play fine without it, but I prefer to tame the dynamics to a more manageable level. For example, the dynamic range between unplugged and amplified is massive. I like to get the unplugged dynamic range, amplified. So I so pile quite a bit of comp on, but not enough to compeltely destroy my dynamic range, just enough to even notes out when I'm playing at my regular intenstity and harder. Quite notes are still quite. It also bring out any tapping to the fore to a more even volume as my finger style.

I have however been through a few units to find the 'one'. From a Behriger autocom rack, though the ones in the GT6B, a couple of dual band stomp boxes, and now an quite happy with the 'natural' compressor in my zoom B9.1ut.

Although last week I bought one of those Line 6 GX computer interfaces doodads with the Pod Farm software. I am blown away by the LA2A model. Just 2 knobs, threshold and gain. Sounds awesome, quite honestly the best, natural, transparent and easy to use compression I've personally used.

If Line 6 could put this in a stomp box I'd have one permanantly attached to my bass lol.

 

[lowendgenerator]

Compression? Love it! It's a vital part of my sound, it gives me an anti-organic, larger than life sound.

Not a fan of the "dip and swell" though.

 

[paganjack]

I used a few different compressors for a while but i have sold them all. I use the built in shelving compressors on my Mesa M-2000. They are great, since you can pick the frequency range that it works on, 3:1 or 5:1 [or off] and a threshold. So I leave my FET channel squashed for slap, and use a tiny tiny touch of low end compression on the tube channel to keep my sound clean.

man i love that amp. I just used the DI to do some demos. i love it! it sounds so fat and sweet.

 

[Surly]

I use the Aphex. It's a good pedal that adds "oomph" and doesn't change tone. I don't need it for practicing though, just for jamming.

 

[Mudfuzz]

On the actual subject.

My thoughts on compression

I like compression.
It is part of "my" sound.
I have around 7 comps/limiters.
When not in use they make nice paper weights.
I usually like very light compression, but there are other times, where I cain more than one at a time.
I HATE all compression distortion except for that which is from a OS or a big tube job like a Summit MPC-100A.

 

[warwick.hoy]

Compression? Love it! It's a vital part of my sound, it gives me an anti-organic, larger than life sound.

Not a fan of the "dip and swell" though.

Can some one cite an example of dip and swell for me. I've always been curious what it sounds like but have been too afraid to ask.

 

[ga_edwards]

Possibly 'Sledgehammer' by Peter Gabriel? It's kind of like the threshold is too high with a high ratio, so the loud initial part of the note gets really super squashed, then as the note decays below the threshold, the compressor releases and lets the rest of the note through, seemingly getting louder. With the attack set appropriately though, you can get the initial attack to punch through, go quiet as the note fundemental gets squished, then get louder as it decays.

 

[autologic]

no matter what you do live, there's a 90% chance that every bass sound on pretty much any record ever produced by an engineer who cooperated with the record label and had a concern for how things will translate to the listener, will have compressed the bass guitar to some degree in the mix.

that said a compressor that works well in both domains would have to be the dbx 160, in my experience.

 

[Geddyfleaharris]

I use a dbx 1066, love it and would not be without. But I don't squish everything. I use 2:1 or less compression. Subtle man subtle.

 

[katri]

I HATE all compression distortion except for that which is from a OS or a big tube job like a Summit MPC-100A.

I've found my pulp mill (which is basically an OS clone) actually distorts a fair amount, it's not unbareable but when trying to play some nice clean stuff it is annoying, when playing with the band though it sounds nice.

 

[TimWilson]

What are your thoughts on compression? And does anyone know how Hartkes compares with Carvins?

I wouldn't play a note without compression. To me, it's as essential as the strings.

Incidentally, I just got a Hartke head (HA7000) and I'm looking forward to trying it out this weekend. The built-in compression (and a new rack tuner) means no more floor pedals for me. Glad to hear a good review of Hartke's compressor circuit.

 

[katri]

I wouldn't play a note without compression. To me, it's as essential as the strings.

Incidentally, I just got a Hartke head (HA7000) and I'm looking forward to trying it out this weekend. The built-in compression (and a new rack tuner) means no more floor pedals for me. Glad to hear a good review of Hartke's compressor circuit.

What comp have you been using before the built in Hartke comp.

 

[TimWilson]

What comp have you been using before the built in Hartke comp.

I just traded away my Boss BCB floorboard which held, along with four other Boss pedals, a limiter and compressor. I used the compressor when I really wanted to hear the compression, and the limiter when I didn't.