Compressor

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ste20man

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Hi.

I might come across as a bit stupid here but I am so here I go.

I think I understand the role of a compressor, bringing the peaks down giving an overall less variable db(forgive the description as I am pretty new to them). ;)

But I can't help feeling that there are a lot of more subtle things that I don't fully get yet.

As an example, if I had a distorted guitar part that is already well controlled in terms of peaks and variation, is there any use in compressing?

Would this tighten it up in any way? I don't understand how this would give it more 'punch' as it's....I'm not sure.

Would it color the sound at all, changing it in some way?

I have just bought a Sonalksis SV-315 comp. Can anyone give me advice on some of the subtleties that compressors might exhibit?

I'd appreciate all ideas, cheers, Ste.
 
Distortion is basically a kind of limiting that adds a lot of harmonic content. It makes things less dynamic so you probably will have less need for a compressor. Some compressors do add something tonally that may make them worth trying for reasons besides controlling dynamics.
 
Ok so what about bass guitars? Would you compress a bass guitar in a fairly aggressive rock song? IF it were to be accompanied by layers of thick distorted guitars.

?
 
ste20man said:
bringing the peaks down giving an overall less variable db
Click to expand...

That's not what I'd use a compressor for.

I'd be more likely to use a compressor to put emphasis on the attack of a sound, rather than to smooth out the overall volume or anything like that.

Leaving a really long attack time allows the start of each note to come through before the compressor acts on the sound that follows.

I'd use it the same way on a kick or a snare.
 
Steenamaroo said:
That's not what I'd use a compressor for.

I'd be more likely to use a compressor to put emphasis on the attack of a sound, rather than to smooth out the overall volume or anything like that.

Leaving a really long attack time allows the start of each note to come through before the compressor acts on the sound that follows.

I'd use it the same way on a kick or a snare.
Click to expand...

Steenamaroo,
I have to respectfully disagree with this, somewhat. You can't add attack with a compressoe. Take a snare crack for example. There is nothing a compressor can do to give more "crack". You can make all the cracks the same if some are louder, you can smooth them if it's too much crack, you can bleed them together (if for some reason you wanted to?)

Guitar compression is different. You are right, distortion is a form of compression. Originally, it was accomplished by overdriving an amplifier. No matter how hot or weak the guitar input was, the output from the amp maxed, so you got the same distorted levels. The usual reason for putting compression on an already distorted guitar is to increase sustain. A note plucked with no compression has a definate attack, then fades as the string resonates. With compression, the initial attack is lessened and as the string subsides, the compressor increases so the note continues at the same level, giving the sound of sustain.

Compression on vocals is completely different. Personally, to hit the high notes, I gotta belt it out, but for softer parts in my range, I sing relatively quiet. This recorded sounds weird. Too much dynamics. A touch of compression smooths the levels out so it becomes more regular, volume not juming all over. I don't use it for sustain in my voice.

Well that was more than I usually type. Look something shiny! Hug, What were we talikng about??
 
I think what Steenamaroo is getting at with the attack is that you can lop off some of the middle and/or tail, and then boost output level, and that changes the tone and gives the hit the appearance of greater attack in the tone.
Basically you end up emphasizing the attack more than the rest, and the bump in level to bring it back up "increases" the attack.
 
Atom Bomb said:
Ok so what about bass guitars? Would you compress a bass guitar in a fairly aggressive rock song? IF it were to be accompanied by layers of thick distorted guitars.

?
Click to expand...

Yes, I compress the snot out of bass guitars in rock tunes--probably more than any other instrument. And I am an accomplished professional.

(Okay...that's not true. I'm a rank amateur. But the part about compressing the bass was true.)
 
There are multiple uses for compression.
Color, peak controls, leveling, punchiness, pumping...
It s a very versatile tool.

In this video you get different example that will help you understand better what you can do with it.
Compression Overview - PUREMIX
 
miroslav said:
I think what Steenamaroo is getting at with the attack is that you can lop off some of the middle and/or tail, and then boost output level, and that changes the tone and gives the hit the appearance of greater attack in the tone.
Basically you end up emphasizing the attack more than the rest, and the bump in level to bring it back up "increases" the attack.
Click to expand...


That's exactly what I'm saying, but thanks for being upfront Washburn.

Like I say, I'll use it on flat lifeless kicks and bass with no defined pick sound; That kind of thing.
 
Washburn100 said:
Guitar compression is different. You are right, distortion is a form of compression.
Click to expand...

That was BSG, not me :P

Washburn100 said:
A touch of compression smooths the levels out so it becomes more regular, volume not juming all over. I don't use it for sustain in my voice.
Click to expand...
I guess there's no right or wrong, but for me this calls for volume automation, not a compressor.

Washburn100 said:
With compression, the initial attack is lessened
Click to expand...
Unless you use a slow attack.
 
Atom Bomb said:
Ok so what about bass guitars? Would you compress a bass guitar in a fairly aggressive rock song? IF it were to be accompanied by layers of thick distorted guitars.?
Click to expand...

For bass guitars get a DBX 163A or DBX163X I love it, has 1 control called "More" you will have to look for a second hand one as they are not made anymore.

"More" It's almost like the Spinal Tap amps going to 11.

Alan.
 
I compress bass guitar all the time. When I'm with certain musicians who are familiar to me I compress before recording. I have the luxury of doing it with a Drawmer 1960. Actually, I put a dbx 166 in front of the 1960 for the limiter and a little pre-compression.
 
I mentioned this in another comp thread...

I picked up an Overstayer Stereo VCA comp a few months ago, and the thing is just awesome, though so far I've only used it on the stereo bus during final mixdown, but will be trying it out on some individual stuff too.
They also make a couple of 1/2 rack stereo comps, one is very similar to the full rack VCA comp, but the other is a FET comp.
All three get top marks with the Gearslutz crowd.

Yeah, they are all stereo, so you only get the one set of controls for both channels...but can still be used on individual stuff too.

Anyway...some really sweet sounding stuff, and not too pricey. I like the full rack VCA so much, I'm planning to get the combo special, which is one each of the 1/2 rack units...a FET and a VCA. The FET version is supposed to be killer on drum tracks.

Overstayer Recording Equipment - Home
 
Yo St20! Tools are tools, and they can be used for more than one purpose. You have to define the job to choose the tool. As near as I can tell, there are 3 classic attitudes about compression:

1. It is used for dynamic control, to limit volume excursions, mostly to obtain a more even balance in the mix. It should be subtle, and audible "breathing" is bad.

2. It is an effect, especially on bass and percussion. Like the distortion on an amp, it is aggressive and obvious. A little distortion from the compressor can be cool, if it has the right flattering color. Make mine optical.

3. It is the whitewash that is slathered over everything like painting a fence. By God, me boys, we'll win the bloody volume war! The right subwoofer will loosen the fillings of people 3 cars away! Damn the dynamics! Full speed ahead!

OK, you've got a fairly usable digital compressor. It's really just a plug-in in a box. That's not a bad thing, because the sad truth is that really good compressors cost an arm and a leg, and most cheap ones suck. The M-Audio DMP-3 comes as close as anything I've used to being the exception to that rule. For most purposes, digital compression is as good or better than anything you can afford until you are into big bucks. The outboard digital compressor/FX box allows people with non-computer based systems to access those plugins, but then they may have to be converted back to analog, and that's where the cheap outboard box lets you down a bit. If you can use it with a preamp that has digital output into a standalone by S/PDIF, the quality can be pretty good, as the signal stays in the digital domaine at all times.

For cheap outboard compressors, I like FMR Audio RNC for use #1, Joemeek for use #2, and as you can guess, I don't do #3. I like dynamics.-Richie
 
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