What do you like about compressors?

[pbass2]

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.

All the compressor talk on TB is yet another reminder that one of the best things ANY musician can do, is experiment with recording. And not just bass. Learn how to mix a band recording. Home recording is cheaper than ever these days. And the software emulations of hardware are so good now, even if you don't have a real LA-2A or other cool piece at your disposal, you can learn what one does, how it works when you mix. Understanding how something like a compressor works when mixing is of great service to any musician when they approach their own live sound.

 

[BurningSkies]

All the compressor talk on TB is yet another reminder that one of the best things ANY musician can do, is experiment with recording. And not just bass. Learn how to mix a band recording. Home recording is cheaper than ever these days. And the software emulations of hardware are so good now, even if you don't have a real LA-2A or other cool piece at your disposal, you can learn what one does, how it works when you mix. Understanding how something like a compressor works when mixing is of great service to any musician when they approach their own live sound.

True and many plug-in compressors have the kind of graphic interface which may help those who are compressor-flummoxed understand what the different controls do.

 

[pbass2]

True and many plug-in compressors have the kind of graphic interface which may help those who are compressor-flummoxed understand what the different controls do.

Totally. Heck, you can switch between whatever delicious classic unit like an LA-2A, 1176, etc etc willy nilly trying out different presets and toying with the controls and learning. I come from the analog studio world, and man, I wish we had this stuff at our fingertips when I was learning. The Waves emulations are really good at this. The LA-2A does that special "thing" very well, and is just as simple a the original.
Of course some plug-ins can have too many features and be confusing for a beginner, for example, the stock Logic compressor is quite good if you know how to use it, but it's got a lot of controls and can lead to the flummoxing you mention. Just takes practice. Presets are your friend for getting started.

 

[Slough Feg Bass]

live = no comp

studio = 1176 2:1

 

[orange joe]

I use a GDMC Tom Thumb compressor which is a variation of Valve Wizard's "Engineer's Thumb" circuit. I use it at low ratio and threshold settings. I like it because it's a very transparent compressor. When used properly a good compressor will allow your dynamics to come through more clearly. When used incorrectly they can stomp your sound flat. There are also a lot of really sorry excuses for compressors out there which give some people a bad perception of compression. Once I read a few ovnilab articles on the subject and understood it better I really found compression to be very helpful. I used a Boss LMB3 for a while with good results. I never understood what bongomania meant by "artifacts" until I got the Tom Thumb compressor which had none. I'm looking at a Patton Bearhug in the near future.

 

[GreyBeard]

Good for recording on the back end. I don't use them live.

 

[FugaziBomb]

All the compressor talk on TB is yet another reminder that one of the best things ANY musician can do, is experiment with recording. And not just bass. Learn how to mix a band recording. Home recording is cheaper than ever these days. And the software emulations of hardware are so good now, even if you don't have a real LA-2A or other cool piece at your disposal, you can learn what one does, how it works when you mix. Understanding how something like a compressor works when mixing is of great service to any musician when they approach their own live sound.

You're spot on about compression software these days. I've been using an SSL Fusion for mastering for years, but recently did a mastering session "in the box" and was really shocked how good it sounded compared to my outboard gear

 

[Fuzzbass]

I know compressors are consider necessary for many bassist out there, but I just can't get into them at all. Maybe I am just not familiar enough with compressors, but I cannot find many tones I like using. When I do use a compressor i set the ratio very low (around 2.5 or 3) for just a slight bit of smoothing.

When I turn the compressor up any I just feel like it crushes all the life out of my tone and all of the demos of compressors I've heard make the bass sound sterile.

I'm not trying to bash anyone's tone, I curious on how others use your compressors. What do you want it to do to your tone and what settings do you use on your pedal? Maybe y'all can help me find a new angle on the subject

Compression is used on virtually all studio recordings. It's also often applied by the sound tech on live performances: these days it can be added to any or all tracks with a few presses on the iPad/tablet. Compression isn't necessary for your own rig -- heck, I usually gig without it. That said, I love what compression brings when I do use it and set it up correctly.

Setting it up correctly is the key! Compression haters often say "tried a comp but it robbed all the dynamics from my tone". That will only happen in three scenarios:

1. Operator error
2. Crappy compressor
3. Both of the above

Step number one: if you are interested in compression, then LEARN HOW TO USE IT PROPERLY. This is a great place to start: Compressor and Audio Gear FAQ Compression is the most difficult sound processor to use IMO. Some are easier to use (e.g. having automated attack/release algorithms), while others offer control over many different parameters. Regardless of which one you get, it's important to understand the fundamentals of compression.

Step number two: determine why you want to use compression. There are a BUNCH of different usages, including:

1. Hard limiting with high threshold for speaker protection
2. Hard compression with lower threshold for a squashed effect
3. Tone shaping, e.g. imitating a tube amp pushed hard, more warmth, more attack/brightness, tonal balance
   
4. Subtle, transparent smoothing to sit better in the mix
5. Natural-sounding leveling: unevenly-played notes, slapstyle technique, etc
   
6. (I'm sure there are more I'm not thinking of)

I personally go with either 3 or 4. Last Saturday I got a killer tube-amp-style warmth out of my FEA DE-CL; on a gig prior to that I got sweet subtle smoothing from my OvniFX Smoothie (surprise surprise).

Step number three: determine which compressors fit your goal(s) and budget, and decide from there which will work best for you. This ain't easy these days as there are a butt-ton of compressor pedals to choose from, and many offer good value at an affordable price. The Ovnilab site linked above hasn't been updated in a year or so (?) but it's still a great place to start. So is the stickied compressor thread right here on Talkbass.



P.S. Don't mean to sound like a know-it-all. I've had decades of experience with compressors, but often don't use it, so sometimes it takes awhile for me to get it right. That's what happened last Saturday: took me most of the first set to get it where I wanted it: started out with a bit too much, then not enough. Eventually I found the right setting and my ears were thrilled.

 

[vindibona1]

Are bass and guitar compressors radically different? In other words, can you use a guitar compressor successfully with a bass?

 

[Chickenwheels]

For me, a compressor isn’t about creating tone, it’s about delivering tone.

It’s a bit like tasting a fine wine in a quality wine glass instead of a mug. The wine hasn’t changed, but through attention to delivery the finer qualities are enhanced.

As a visual analogy:

Pop this on the end of a hose and you can adjust and focus the water output for whatever watering task you’re doing.

However, care is required...you don’t want to be blasting flower beds apart and lose “dispersion”!

A compressor can act as a similar tool in sound delivery.

I especially appreciate how it makes my other effects sound better. However, I turn the compressor off when using my drive pedal.

I do not use my compressor as a gain boost.

I use an ‘83 Boss CS-2.

 

[Hundred proof]

I don’t use a compressor per se, this always on pedal gives me “tube like” compression that’s just subtlety there. I set it at the just before any distortion kicks in point, and then forget that it’s on. Here is their quote from the website.

“It is extremely popular for use with Bass Guitar where it is used to provide both distortion and compression without loosing any of the Bass Guitars original tone and retaining the rich low end.”

 

[tekhedd]

...(around 2.5 or 3) for just a slight bit of smoothing.

Most compressors in the $0-$2000 price range suck on bass. If you think it doesn't sound good, it's probably because it doesn't sound good. If you're just using it for sustain, don't. You don't need more sustain, you're playing a bass. Flats? You still have tons of sustain. Dead flats? You're using these because you don't *want* more sustain. Why are you using a compressor again?

The thing I do sometimes like about compressors is the way they shape the tone on the attack transients, just ticking over and taking the tops off of over-enthusiastic attacks, enhancing the attacks with harmonic distortion. I like ratios between 4:1 and 6:1 too, you don't really need a hard limiter. But this only counts as sweetening if it's a really sweet compressor that sounds good, and that means really --ing expensive and probably also big and maybe fragile, and if you're going to carry big, fragile, and expensive, you might as well get a tube head and let the transformers do your sweetening.

Compression can help your bass to be audible in a recording, but that's more of a "mix glue" than part of the bass tone.

So, I don't like *any* compressor small enough to be part of a gig rig. Thanks for asking!

 

[JimmyM]

I'm with you, Jared, although I keep hoping I find one I like that doesn't break the bank too badly and doesn't require using it in a loop.

 

[Krisfield]

I like a compressor for added touch sensitivity, even note loudness, sustain, and harmonics seem to jump out a bit better.

 

[pbass2]

Most compressors in the $0-$2000 price range suck on bass.

I'd have to beg to differ here. Not talking about software (which can be quite good to great), there are some excellent hardware units WAY under $2k. And i don't mean stomps, I mean rackmount, studio comps. For example, I have a Summit TLA-50 that KILLS. Totally pro unit, excellent on bass, guitar, vocals, you-name-it, about $800 or so. Plenty of great pieces out there well under $2k from Drawmer, Warm Audio, Empirical Labs, heck, too many to list. The highly regarded FMR RNC is what, $190? That's a rare case of course, but still. Sure, something legendary like an LA2A is of course great--I use that too---but you don't have to spend that much to get a great compressor.

 

[mambo4]

Maybe I am just not familiar enough with compressors, but I cannot find many tones I like using.

My understanding is that compression has nothing to do with tone, it's a volume only thing.
Unless you includes things like Decay, sustain, and release as "tone"

 

[Chickenwheels]

I turn it off when I want fuller control of dynamics (particularly on the 'quiet' end of the spectrum) then I turn it on when there are songs where the mix would benefit for it.

Yes. The denser and louder the band/gig, the more effective compression becomes.

 

[BurningSkies]

Most compressors in the $0-$2000 price range suck on bass. If you think it doesn't sound good, it's probably because it doesn't sound good. If you're just using it for sustain, don't. You don't need more sustain, you're playing a bass. Flats? You still have tons of sustain. Dead flats? You're using these because you don't *want* more sustain. Why are you using a compressor again?

The thing I do sometimes like about compressors is the way they shape the tone on the attack transients, just ticking over and taking the tops off of over-enthusiastic attacks, enhancing the attacks with harmonic distortion. I like ratios between 4:1 and 6:1 too, you don't really need a hard limiter. But this only counts as sweetening if it's a really sweet compressor that sounds good, and that means really --ing expensive and probably also big and maybe fragile, and if you're going to carry big, fragile, and expensive, you might as well get a tube head and let the transformers do your sweetening.

Compression can help your bass to be audible in a recording, but that's more of a "mix glue" than part of the bass tone.

So, I don't like *any* compressor small enough to be part of a gig rig. Thanks for asking!

This comes across as a troll.

 

[Seashore]

My understanding is that compression has nothing to do with tone, it's a volume only thing.
Unless you includes things like Decay, sustain, and release as "tone"

Depends on the compressor - some of them add "warmth", emphasize different frequency ranges, or provide an overall boost. All that can have a noticeable effect on how the signal behaves going through an amp. Changing how much of the transient gets through with the attack control can also have a big impact on perceived clarity.

 

[tekhedd]

This comes across as a troll.

Yes, it does. Oh wait, you mean my post. : D

So, which part, the part where I describe what I like about compression, or the part where I mostly agree with OP's impression that compression doesn't really add much to bass tone?