I have played gigs in the past that didn't place so much demand on the quiet thing, and still didn't feel a need for a compressor. It's a bit of both perhaps.
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What do you like about compressors?
- Thread starter Jared Houseman
- Start date
I have played gigs in the past that didn't place so much demand on the quiet thing, and still didn't feel a need for a compressor. It's a bit of both perhaps.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
Boom...
...and BOOM
Well said.
For me, comps are tone shaping effects. I tend to gravitate towards the compressors that add something or color your sound in some way. I like the way different compressors affect different basses. I like the way some VCA comps have a certain punch to them and how some optical comps have a nice warm, beefed up, almost tubey tone. And then, tube comps...they're their own special brand of compy goodness.
In the studio I'd have a great excuse for a real LA-2A onhand, and a 1176 and a few others. On the road, it's hard to justify carrying. In that case I have a non-tube LA-2A 'clone' that's on my board after my 1176 clone.
The LA-2A circuit is set way back so it's hardly triggering except for the deep stuff down the neck and even then it's set to be very mild. I really use it more for this bit of tone magic that it just seems to add even when not noticeably triggering. The Cali 76CB I turn off for songs that need a delicate hand to go from whisper quiet to big boom and back. But when I'm churning 8th or 16ths, it's great.
I used to have one on my pedal board, but it was a bit noisy, and I finally gave it up.
My $0.02 is that I'd rather have compression happening downstream in the signal chain, during
mixing for recording or for FOH, where it's clearer what and how much is needed -- I don't want to try to anticipate that and get it wrong.
If I'm using my Ampeg amp as stage monitor, or on small gigs where I'm not sending a signal to FOH I'll dial in a little bit of compression from the amp, but that's all.
My $0.02 is that I'd rather have compression happening downstream in the signal chain, during
mixing for recording or for FOH, where it's clearer what and how much is needed -- I don't want to try to anticipate that and get it wrong.
If I'm using my Ampeg amp as stage monitor, or on small gigs where I'm not sending a signal to FOH I'll dial in a little bit of compression from the amp, but that's all.
I use it to tame things like holding my bass by the b string and dropping it or playing Pete Townshend style windmill chords while jumping off the drum riser, etc. If y'all want to call that "solving a problem," fine. Solving the problem of looking lame while standing still and concentrating on even plucking all night is a little harder. I'm sure the ladies in the audience are impressed by your naturally even dynamics, haters. I kid, to each his own.
Using the one knob compressor on most bass heads and deciding you don't like compressors is like going to Taco Bell and deciding you don't like Mexican food.
Mugre
seems to me , most pedal format comps have their own town ... if you don't want or like that , search for the most 'transparent' comp you can afford ... there are several to pick from , the first that comes to mind is the Keeley Bassist ...
i have a TC HyperGravity ... mostly for the variety/programs it has available ... any comp with a ' Blend ' knob will help retain Your tone ...
i also use a couple tube preamp pedals , as tubes naturally compress signals a bit ..!??!
i have a TC HyperGravity ... mostly for the variety/programs it has available ... any comp with a ' Blend ' knob will help retain Your tone ...
i also use a couple tube preamp pedals , as tubes naturally compress signals a bit ..!??!
I dunno, that seven-layer compression is pretty tasty.
MXR M87, mostly always on to plant my flag in the mix accordingly, primarily as a limiter just nipping the end bits.
Yet, with my recently added HPF in the FX loop, the M87 goes almost unnoticed even more.
(New HPFer, and digging it!)
IMO both are definites when it comes to recording at/in/on the board/DAW; 2:1 or 4:1, and the HPF box checked.
Bass, lead, amp/cab, power "On"- everything else is subjective.
Good Luck.
Yet, with my recently added HPF in the FX loop, the M87 goes almost unnoticed even more.
(New HPFer, and digging it!)
IMO both are definites when it comes to recording at/in/on the board/DAW; 2:1 or 4:1, and the HPF box checked.
Bass, lead, amp/cab, power "On"- everything else is subjective.
Good Luck.
I have a dual band compressor on my amp and it makes my sound come alive: effortless definition and clarity and really makes the growl of the tubes come through. I run the low compressor almost off and the high at about 30% - 40%. Really helps me get the sound I want.
For me, compression is all about being able to dig into the strings and get that sound without my volume increasing too much. You really need to monitor your gain reduction (if your compressor has a meter). Anything more than 4-5 db of gain reduction starts to sound squashed, which is what you might be hearing.
Compression can sometimes be a tough nut to crack for the uninitiated, especially if you're dealing with a compression pedal with minimal controls and metering. Coming from the world of audio engineering/production, I'm used to being able to control the ratio, attack, release, knee, etc etc (even my bass compressor is a rack mounted DBX unit in lieu of a pedal). If your compressor doesn't have these controls (and also gain reduction metering) it can be hard to get a good grasp on what is happening as a beginner.
Compression isn't for everyone. Like anything else, it's a specific tool to accomplish a specific job. If you feel like you're struggling with it, set it aside for now and come back to it later. No shame in your game!
If you do feel like it's something you need or just really want to have, rack mounted units can be had pretty cheap on the used markwt and can give you a better starting point towards understanding what compressors are doing - assuming you don't already. Good luck and good reading!
CosmicRay
Supporting Member
I use a bit of compression with a diamond compressor,makes the notes a bit smoother,fatter.More complex compressors with all the controls are not for me,specialy not live.
I see it as almost a preamp,get a similar sound from diffrent rigs I find at a vanue.
If I use a drive I wont use a compressor,if compression is applied by the soundman obviously wont use a compressor.
I see it as almost a preamp,get a similar sound from diffrent rigs I find at a vanue.
If I use a drive I wont use a compressor,if compression is applied by the soundman obviously wont use a compressor.
I use compression on bass (and everything else) in the studio to varying degrees, but I don't have one in my live bass rig. I leave it to the FOH. I have used them on my pedalboard in the past, but as I mostly play just straight-up "Fender bass" (as they used to call it
) I just play with a pure sound and any compression the bass might need is a decision for the mix engineer (but I do know how useful it can be when using more effects). In the studio I run w the same mindset - if I track with any comp on the bass at all, it's super light. Again, it's a mix thing, and I like to try out different compressors, hardware and software, in the mix stage to find what's best for the track.
) I just play with a pure sound and any compression the bass might need is a decision for the mix engineer (but I do know how useful it can be when using more effects). In the studio I run w the same mindset - if I track with any comp on the bass at all, it's super light. Again, it's a mix thing, and I like to try out different compressors, hardware and software, in the mix stage to find what's best for the track.
When I first started playing I read about how wonderful compression was so I bought one. I hated it. Thought it crushed my tone and dynamics. Turns out, it wasn't the compression that was no good...it was me. I simply didn't understand that it's a subtle effect. I used a compressor to basically make the low end fuller and rounder. If I turn off the compressor, most won't know, but I notice it....and combined with some other tone shaping pedals...I have the thick low end I want without any mud or "wet blanket" tone.
My Creation Audio Labs Grizzly Bass and FEA Labs compressor are always on as well as my microThumpinator HPF.
My Creation Audio Labs Grizzly Bass and FEA Labs compressor are always on as well as my microThumpinator HPF.
There are so many different designs and types of compressors that it's hard to have a helpful discussion about "compression" as if compressors are basically the same. If you're running through a board at a gig there's probably some compression going on there as well. Certain amplifiers offer some kind of compression just by their design I think.
Mine is always on because I play with a really bright tone and it does help to have something to even that out a bit. But mine also adds shine and clarity for some reason which was sort of an unexpected good as well.
But I could just as easily play without one and no one would know the difference. I don't use tons of compression, others do. It's just for me, no big deal.
Mine is always on because I play with a really bright tone and it does help to have something to even that out a bit. But mine also adds shine and clarity for some reason which was sort of an unexpected good as well.
But I could just as easily play without one and no one would know the difference. I don't use tons of compression, others do. It's just for me, no big deal.
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I have a Keeley Bassist which a lot of people here really like. But I guess I am one of those guys who don't like compressors. i was told by these guys here some people just don't like them. I guess I am one of those people. But the people in here have a lot of knowledge more then I. So really listen to them, and tell them what or why you think you need it.
I started building a pedal board 10 years ago, and most envelope filters seemed to add a bunch of volume to my bass signal. I loved the sound of the effect, except that it got noticeably louder and made sound engineers dive for the bass fader. So I looked into limiting compressors that DON’T change my tone and fell in love with my keeley bassist. I set it to do a hard limiting at the times where my effects pedals (envelope filter/octaver/etc) add volume peaks, but not to engage or limit when I play “dry” with the effects off.
I also tried a couple “tone enhancing” compressors, like the Diamond, but found they are just not for me. I guess I’m not in to squishy bass sounds when it’s me playing, but I do enjoy other bassists tone when they do.
But I don’t see compressors, or any effect for that mater, as necessary. For me, when using an envelope filter I find a hard limiter necessary.
I run a GT-10b and it has a lot of great compressors. I really didn’t know much about what I was doing until I had two consecutive shows with a great sound engineer. He gave me some good pointers and advice when I spoke with him about my tone and what I could possibly do to make the FOH better. The next show that I did with him, I Sent a much better signal to the FOH and I have been getting compliments from sound engineers ever since.
I also run sound for other bands and it has improved my mixing technique and made my life a little easier at the board.
Moral of the story, make friends with the sound engineer if at all possible. They know a lot more than you about your tone and dynamics.
I also run sound for other bands and it has improved my mixing technique and made my life a little easier at the board.
Moral of the story, make friends with the sound engineer if at all possible. They know a lot more than you about your tone and dynamics.
