Compressor For Live Classical Guitar

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robin watson

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Morning/afternoon/evening all (depending on which part of the world you're beaming in from).

I'm wondering if anyone has any recommendations for a compressor, for mild 2:1 compression on a classical guitar in a live setting, low to medium budget (as per usual).

Cheers,
Robin.
 
The FMR RNC (Really Nice Compressor) in "super nice" mode is about as transparent a compressor as you'll find in the low budget arena ($175). It puts my dbx to shame. I couldn't comment on the mid priced units, as I don't own any.
 
Second the RNC for the default, do (almost) anything clean comp, but maybe not the most handy, road, setup-wise. Otherwise maybe something like a DBX (160x, 166xl?) in auto mode.
Wayne
 
Cheers, lads. Really appreciate the input.

The RNC (as per suggestion 1)might be a bit 'fiddly' on the fly, but it certainly looks to be a firm contender. I've heard very, very mixed views about DBX compressors (certain models being much better than others).

Actually, the B-Band saddle PU I use could do with a bit of 'colour' perhaps, something to warm it up a bit...

Cheers.
 
i got several DBX compressors,
and right now i'm very pleased with the pretty cheap 166XL
(sounds better than the 166a)

i love them for drums, but i actually try to send Lots of things trough them,
and they're OK for me

but i wonder, what mic are u gonna use for the accoustic guitar?
 
The RNC is probably the most bang for your buck for sure. That being said, I don't believe I'd compress a guitar doing any kind of classical music.
 
The key is live, folks. In a crowded restaurant playing guitar for brunch or something, a compressor could certainly be an effective tool.
 
I've used the RNC a lot for live classical and flamenco guitar, and I'd rather play with a string missing than play live without it. I only used the "supernice" mode, as it doesn't squash the sound as it levels the volume. In a restaurant or cafe, you've typically got customers sitting very close to you and your SR, so volume control is critical. The RNC is like having an automated volume pedal that lets quiet passages be audible and keeps loud passages from bringing the dreaded "can you turn it down a little please.".

Tim
 
Timothy Lawler said:
I've used the RNC a lot for live classical and flamenco guitar, and I'd rather play with a string missing than play live without it. I only used the "supernice" mode, as it doesn't squash the sound as it levels the volume. In a restaurant or cafe, you've typically got customers sitting very close to you and your SR, so volume control is critical. The RNC is like having an automated volume pedal that lets quiet passages be audible and keeps loud passages from bringing the dreaded "can you turn it down a little please.".

Tim
Click to expand...

That's a great post, Tim. You've obviously used the unit and know the issues involved with compressing classical in a live setting. The other advantage to the RNC is that it is so small and light, perfect for carrying around to gigs. Units that I would have suggested are bigger, heavier, and more expensive.

I believe there is a place for compression in classical music in some circumstances, but there is certainly no place for obvious compression *effect* in classical music. There are compressors that will compress invisibly without destroying the dynamic range of the music, and that is the standard that must be met.
 
Timothy Lawler said:
I've used the RNC a lot for live classical and flamenco guitar, and I'd rather play with a string missing than play live without it. I only used the "supernice" mode, as it doesn't squash the sound as it levels the volume. In a restaurant or cafe, you've typically got customers sitting very close to you and your SR, so volume control is critical. The RNC is like having an automated volume pedal that lets quiet passages be audible and keeps loud passages from bringing the dreaded "can you turn it down a little please.".

Tim
Click to expand...

It's reassuring to hear from someone actually implementing a notion I've had for some time. Thanks very much for throwing that one in, Tim. From playing around last night with an old Ashley compressor on the classical guitar (and recording the results at various settings), it clearly helps to tame piezo quack (at the very least), and brings up the quieter stuff.

At a mild (2:1 or 3:1) setting, fairly low threshold, fast attack and ~1 sec release time seemed to be steering things in the right direction. Looks to be the RNC.

Boingoman, where did you spring up from. Good to see ya!

Might be a good time to start a thread on prefered PU's for this application...

Great help everyone, thanks.
 
helps to tame piezo quack
Click to expand...

Speaking of classical guitar amplification, the signal chain that I was most happy with for commercial live playing, you know - where you're sitting close to your amp and the audience is on top of you so you can't externally mic the guitar - was this:

Dean Markley Artist transducer (the wood covered piezo that sticks on the foot of the bridge) to...

Presonus Bluetube pre (really shapes the sound nicely as far as not having any quack to it). But almost any stomp box I have does the buffering OK too. to...

RNC on supernice mode (tried other compressors first and even with mild ratios everything sounded very electric) to...

Alesis microverb to...

To a variety of amps or PA. My favorite was my SWR Calif. Blonde, but jeez it's heavy. Had to use a hand truck. When I was lazy I'd just take my Galaxy Audio self powered monitor and mount it high on a mic stand.

Robin, what kind of setting are you going to be playing in?

Tim

PS. I don't use any of this stuff when I record, except the RNC if I'm close mic'ing.
 
Not exactly the cafeteria type settings you mention; more like small-to-medium size music bars/hotel wine bars. So fairly quiet settings, you might say. The 'musical' setting also varies somewhat: solo classical guitar in one setting and other nights percussion-driven band stuff with a vocalist.

I took a look at the DM artist - looks nice (and fairly priced). A couple of reviews I found were favourable, too.

I have the B-Band undersaddle. External preamp is an old Session Award Matchbox MB11
 
Cafeteria? No, wait... I did play cafeterias when I did school assemblies, but that was one of the best situations for amplification as they generally had a stage. They called them multipurpose rooms but they were really just cafeterias with a stage at one end.

What I did mostly was corporate and hotel events, fashion shows and upscale restaurants. My contracts always specified a certain amount of space but even with that the people were pretty close compared to a concert hall setting.

Tim
 
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