Rod/
Vibrato & String Bender
I guess that’s why I never got along with comps. All my guitars are humbuckers….. makes sense at least
Compressors. Who uses them and how?
- Thread starter Gtrbldr
- Start date
ViperDoc
Plugged In.
I haven't read all of what's been said, but here are my two shiny pennies:
Compression is an incredibly powerful tool. It can be used anywhere in your signal chain, but in each place, the effect will vary. Because a compressor squashes transients to homogenize the gain of a performance, the more you apply it--and the earlier you apply it in the signal chain--the less dynamics you will hear. This may be good or bad depending on what you need. Generally, you can always compress an audio signal, but you can't UN-compress it. To me, less is more when it comes to compression.
The two places I use compressors most often are both 1) in front of the amp input AFTER my overdrive pedal stages, and 2) at the beginning of my effects loop prior to any reverb or delay effects. This way I can preserve as much transient info of both my pedals AND my amp's preamp section individually, and it lets me slam the phase inverter tube for those Tom Quayle legato solos that I honestly can't play to save my life. I use a Gigrig switcher to manage which compressor turns on when so they're out of the loop when turned off. I used a Cali76 as an "always on" subtle limiter for my Rush gigs 2 years ago and that pedal is t!ts. The other two comp pedals I like best are the Xotic SP compressor and the Wampler Ego, both with blend controls. Being able to parallel your compression live is a great way to get the best of both worlds in terms of overall gain and dynamic expression.
The one effect you don't want to trail with a compressor is a Leslie or Tremolo effect. You'll just lose the magic, IMO, by slamming it when it's supposed to be purely dynamic. But then if you try it and like it, who cares?
I also can't say enough about having clean, well-isolated power on your board with no hum. Both Gigrig and Voodoo Labs power bricks have served me well, but how you hook it all up matters most. Have a single pathway to AC ground, and no ground loops with proper isolation when using lots of sh!t. But I digress....
Compression is an incredibly powerful tool. It can be used anywhere in your signal chain, but in each place, the effect will vary. Because a compressor squashes transients to homogenize the gain of a performance, the more you apply it--and the earlier you apply it in the signal chain--the less dynamics you will hear. This may be good or bad depending on what you need. Generally, you can always compress an audio signal, but you can't UN-compress it. To me, less is more when it comes to compression.
The two places I use compressors most often are both 1) in front of the amp input AFTER my overdrive pedal stages, and 2) at the beginning of my effects loop prior to any reverb or delay effects. This way I can preserve as much transient info of both my pedals AND my amp's preamp section individually, and it lets me slam the phase inverter tube for those Tom Quayle legato solos that I honestly can't play to save my life. I use a Gigrig switcher to manage which compressor turns on when so they're out of the loop when turned off. I used a Cali76 as an "always on" subtle limiter for my Rush gigs 2 years ago and that pedal is t!ts. The other two comp pedals I like best are the Xotic SP compressor and the Wampler Ego, both with blend controls. Being able to parallel your compression live is a great way to get the best of both worlds in terms of overall gain and dynamic expression.
The one effect you don't want to trail with a compressor is a Leslie or Tremolo effect. You'll just lose the magic, IMO, by slamming it when it's supposed to be purely dynamic. But then if you try it and like it, who cares?
I also can't say enough about having clean, well-isolated power on your board with no hum. Both Gigrig and Voodoo Labs power bricks have served me well, but how you hook it all up matters most. Have a single pathway to AC ground, and no ground loops with proper isolation when using lots of sh!t. But I digress....
Gtrbldr
Not a new member
- Joined
- May 21, 2021
- Messages
- 1,180
That is a lot of information. I played around with compressors the last couple of days, courtesey of Helix. I must admit I get the logic where to put it in the chain from the post above (viper). But have no clue how to set a compressor properly. Thank goodness for the mix button on the helix compressors 
. I notice not being able to really put myself to it, understanding them, often a sign of a "willingness" issue for me .
After experimentation: still don't like them, but with single note licks in a dense mix (p&w) i can see the subtle use if you can keep the transients, but even out the tails and most imporrantly the sustain, without saturating the signal. However it still feels like cheating.
. I notice not being able to really put myself to it, understanding them, often a sign of a "willingness" issue for me .After experimentation: still don't like them, but with single note licks in a dense mix (p&w) i can see the subtle use if you can keep the transients, but even out the tails and most imporrantly the sustain, without saturating the signal. However it still feels like cheating.
ViperDoc
Plugged In.
Check these out:That is a lot of information. I played around with compressors the last couple of days, courtesey of Helix. I must admit I get the logic where to put it in the chain from the post above (viper). But have no clue how to set a compressor properly. Thank goodness for the mix button on the helix compressors
After experimentation: still don't like them, but with single note licks in a dense mix (p&w) i can see the subtle use if you can keep the transients, but even out the tails and most imporrantly the sustain, without saturating the signal. However it still feels like cheating.
To each their own, but whenever I feel like a compressor doesn't sound right, it's that it's set to do that bad sounding thing, which usually involves clamping the transient in the signal too harshly or is just overboard altogether. Find a compressor with either a dry signal mix control or separate attack and release controls as are explained above. Setting the attack to engage after the transient passes (low milliseconds) to taste will allow you to hear that dynamic texture, but then the compressed signal will add the thickness (great description in the second video) back in right after it.
Last edited:
spawnofthesith
New Member
I use a keeley compressor +, and it's pretty much always on, any guitar, any amp, clean to brutal. The dry signal blend is nice
My problem with the 1176 has always been that it's "grabby". You can really hear the compression, and it comes on fast.
I don't want to hear the compression, except on drums and distorted rhythm guitar. I don't care for it on vocals or solo instruments - yet it's indeed a very popular compressor, a classic, and lots of folks love it.
Same reason I don't care for the SSL bus compressor, another classic. It's grabby in a similar way. But it is good on drums.
My preference is for VCA and tube optical compressors. Give me a Focusrite Red 3, an LA-2A, or a Manley, and I'm a happy camper.
JasonE
New Member
Guitar pedal compressors are really easy to get set too strong. They are also not all created equal. One of the most popular compressor pedals is one I can't stand, the Dyna Comp. It is one that seems to always be too strong for my liking.
Lewguitar
Old Know It All
The Dyna Comp never gave me the sound I was looking for, even tho guys like Lowell George used it and liked it. His slide tone almost depended on it.
JasonE
New Member
Gilmour is a huge fan of it too.
Lewguitar
Old Know It All
That's a good one too.
Brent Mason used one on a ton of country hits. He's one of the best guitarists in Nashville.
Last I saw he was using a Wampler EGO.
But the Keeley gets a great sound too.
Everyone's got their thing, and whatever works for the player, works.
Years ago, I produced and played keys and bass (and believe it or not accordion on one Americana track!) on a project in Europe with Laurie Wisefield (Wishbone Ash, Eric Clapton, Joe Cocker, Ringo Starr's All Stars, etc). He's certainly one of the most incredible players I've ever been lucky enough to work with, and he sounded fantastic. And when I say fantastic, feel free to read that as 'best ever'. Ever. Really. Soaring, brilliant solos. Genius stuff.
'65 Strat >> Script Dyna Comp >> Marshall JTM45 reissue >> 4x12 Marshall cab. He had a couple of other things on his board, but didn't use them.
Laurie played with the JTM 45 cranked in the recording room, and he was in the control room so he wouldn't go deaf. I simply can't put into words how fantastic he sounded, but so much of it was his gorgeous, lyrical playing, and his mastery of the art of guitar.
Also one of the nicest people to work with ever. A great experience. But yeah, he used that frickin' Dyna Comp, an old one.
For me, the Dyna Comp never worked, but I think with a Strat a little extra schmaltz is needed to thicken things up, and of course, the cranked JTM45 didn't hurt. He had that amp going.
I worked with him the following year as well. What a great experience!
JasonE
New Member
There have definitely been some great guitarists using the Dyna Comp and making great sounds with it. I also don't mind the sound of a clean Tele with a compressor on it where you can hear the compressor. I just don't like it on my sound. I really dislike when I can hear the compressor engage and squish that initial bloom of the note when I am playing. It messes with the feel too much for me as well. That is why I like studio grade compressors. I can get those set to where they don't kill that bloom but still keep things under control within a volume range.
I have two Keeley compressors, the 4 knob and the Compressor Plus. I like the Compressor Plus a little better because it has the blend knob on it. However, I am still not a huge fan. I wanted to pick up the Compressor Pro when it came out. However, it is a bit pricey and I don't use a compressor enough to really warrant buying another one. On paper, it looks to me to be the best compressor in a pedal yet. You have a lot of adjustment on it like a studio compressor gives you.
LordStevie
New Member
- Joined
- Apr 9, 2023
- Messages
- 7
I had a MXR Dyna Comp and never really liked it. Switched it out for a PRS Mary Cries, and it's great. I grew up on LA2As in the studio, and the PRS sounds about the same, no pumping. Very happy with it, it's always on.
I really have to check one of those out.
CVS
Not so new member
Agree with you about club volume levels (low) You could consider getting a Tone Master DR which has an attenuation feature
PS - if you can play louder at home (with folks around) than at a club, I am ready to move in
CVS
Not so new member
I still have a love / hate relationship with compressors, many years later. I have always put it 1st on my board. Comments in this thread make me think that maybe it should be last. Time to experiment!
ViperDoc
Plugged In.
Lewguitar
Old Know It All
At about the 20 minute mark Brent Mason talks about the order of his pedals and why he likes his compressor before his distortion and boost pedals.
I kind of followed his lead when I put my most recent board together, and found that it worked for me too. That order gets the kind of tones I like.
Brent has great ears for tone and that's why he played on so many hits and was Nashville's #1 session ace for so long.
I kind of followed his lead when I put my most recent board together, and found that it worked for me too. That order gets the kind of tones I like.
Brent has great ears for tone and that's why he played on so many hits and was Nashville's #1 session ace for so long.
Last edited:
Longneck Tenon
New Member
- Joined
- Feb 19, 2023
- Messages
- 465
That’s a nice compressor, and easy to use as well.
Lewguitar
Old Know It All
Right. Unless you like to use the compressor as both a boost and a compressor into your overdrive pedals.
That's how I use it. But so what? Everybody has to experiment and find their own sound.
i don't use a wah wah pedal but when I did, I preferred my fuzz into my Wah Wah.
Jimi prefered his Fuzz after the Wah Wah. I tried it. It's a different sound.
Similar threads
