For me it varies a lot depending on the genre I'm playing and the other musicians. For blues and funky stuff I like to leave it out, but for some heavier rock it can be quite useful if everything else is really pumped up in the mix.
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Who doesnt use compression?
- Thread starter eupharies
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+1 for people who turn it on and off.
It's a great effect when used right in the appropriate situation.
And no compression is appropriate at times.
It belongs outside the amp if you ask me. It needs to be in the pre signal path to control it best.
It's a great effect when used right in the appropriate situation.
And no compression is appropriate at times.
It belongs outside the amp if you ask me. It needs to be in the pre signal path to control it best.
While I totally see where you're coming from here, to me that adds another variable to my signal and songs, and most of my actual effects grant a noticeable change to the tone so much that I'm not sure I'd even know when to engage it.
All I know is when I just had my old amp I was in the market for a limiter or compressor, and after I upgraded amps I didn't feel the need anymore. But I feel I can play as dynamically with my fingers as ever, if not having MORE control. So it must be pretty subtle.
Can someone who turns it on and off please explain an example, such as for what purpose would you click it on or off mid-song?
bongomania
Commercial User
One popular example is when going from finger to slap, or from steady to wild playing. It can also be a way of adjusting the attack and feel of the notes in a way that is sort of like switching to a different bass.
so if you use a compressor, you're not properly trained (classically) and you have sloppy technique? cool, good to know.
rockstarbassist
Inactive
Not me.
I set it just so my lowest notes don't get overpowering and wallowy and works pretty well.
I set it just so my lowest notes don't get overpowering and wallowy and works pretty well.
rockstarbassist
Inactive
Back in the 1980s when I was playing mostly pop and funk and doing a lot of slapping, I always had a studio-grade compressor in my onstage rack. But in the 90s I started playing mostly modern jazz and electric chamber music, material that required an extremely wide dynamic range (and very specific control thereof) so I stopped using compression. In the 00s I've been splitting my time fairly evenly between those two extremes...but I've also gotten spoiled by super-lightweight rigs, and so I'm basically too lazy to carry a compressor with me now! 
I only use compression in the studio. I find it unnecessary live and would never use it with PA support. Most likely, the sound mixer is using compression, and a good deal of it, so if you are compressing your signal and then FOH compresses the mix even further, say goodbye to any dynamics you had. I prefer to just keep the input gain down a little and never use compression live.
rockstarbassist
Inactive
Most of us worry about actually being in the mix loud enough to know we're on, much less about "dynamics". I use compression more as an additional effect than anything.
I only use compression for recording, NOT for live.
Live, I let my fingers control the dynamics and nuances. If something is out of whack the soundman can always add some compression at the board, but I don't think he has yet to do so.....
Live, I let my fingers control the dynamics and nuances. If something is out of whack the soundman can always add some compression at the board, but I don't think he has yet to do so.....
rockstarbassist
Inactive
Never have. I'd be willing to try it though, if I ever get the chance, but I'm not going to go get a compresssor just to ty it. I'm doing just fine without it.
I personally feel that compression can add so many other little nuances to your playing depending on settings for threshold, ratio, sustain, etc. that it can be a very useful tool in your arsenal. When used properly not only will it even out some of the peaks and valleys, but can be extremely useful in adding sustain and body to your tone.
This is a topic that could just go on and on, but my opinion is to each their own. If you like to use an always on compression to compensate a bit for imperfect right hand technique, good for you I say. If you use it to lower string noise or to even out your slaps and pops, great. If you want to even out the sustain and decay of your active electronics, I see nothing wrong there either. However, if you crank everything and completely squash your signal, that's another thing (unless that's the tone your going for of course).
In the end, it's all personal preference. Compression doesn't have to kill your dynamics or be a crutch so please don't anyone insinuate that someone is a lesser player or lacking technique b/c they use compression from time to time or even all the time.
This is a topic that could just go on and on, but my opinion is to each their own. If you like to use an always on compression to compensate a bit for imperfect right hand technique, good for you I say. If you use it to lower string noise or to even out your slaps and pops, great. If you want to even out the sustain and decay of your active electronics, I see nothing wrong there either. However, if you crank everything and completely squash your signal, that's another thing (unless that's the tone your going for of course).
In the end, it's all personal preference. Compression doesn't have to kill your dynamics or be a crutch so please don't anyone insinuate that someone is a lesser player or lacking technique b/c they use compression from time to time or even all the time.
I don't use compression on my board ever because I like to play dynamically and have more subtle control over my tone. That being said, my FOH engineer will throw a 1176 plug in on my DI signal going to the PA so there isn't much point of me using one in my signal chain.
Yeah , I use my amp`s limiter/compressor for speaker insurance too . Im used to a nice compressed tone now , without it, its too " raw " .
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