What riff is that, the one you refer to at 3:08 or so, 'please don't play that riff here'?? Obviously the one right bore that, at 3:02 but I have no clue. I never listen to the radio, I hate the commercials and the crappy music of today.
Compressors were actual first made for the first telephones, to even out people who were yelling and those who were soft spoken since no one knew how to use this new technology and no phone etiquette exists yet. Just a fun nugget for ya
Are you sure? Compression was first used for radio broadcasts to keep from over modulation. The earliest compression circuits were quite large and would not have fit in the old phones. At least that’s what I learned in frequency and signals class.
Wrong. Made first for military to keep levels more consistent while coming from relatively quiet (bases) sources with louder (planes) and even louder (active war) so the dudes with the headphones on listening didn't get their ear drums smashed in
Another interesting use for compressors that i discovered recently is using it with an overdriven amp or distortion pedal to clean up the sound. Basically like turning down the volume knob on the guitar but with more control
I've built, bought, and sold at least a dozen or more compressors. One of my all-time favorites is the first one I ever bought, in the late '70s: the Univox Uni-Comp. It is probably the simplest optical compressor ever made. And while it is clean, it is an *effect* and not the sort of thing one would describe as "transparent". I.E., you can tell it's on. It has a special affinity for Telecaster bridge pickups. One of the most important functions of guitar compressors is that they allow the player to unhook volume from tone. You can get the same volume level, whether you deliberately snap the strings or gently brush them. Volume dynamics are certainly important for conveying feeling and emotion, but so is timbre and pick attack, and sometimes you just want to provide that emotion simply by getting the string to behave differently. You illustrate that aspect nicely around the 3:40-3:50 mark. The percussive aspect of Telecaster bridge pickups is one of those areas where compressors shine. Additionally, from a performing perspective, compressors are especially useful in yielding a good mix to a band by letting a guitarist slam away without the risk of drowning out a singer or other bandmate. We tend to think of pedals in terms of our own personal sound, but compressors allow a band to sound more like a recorded studio mix, than a bunch of people occasionally drowning each other out. And if you happen to be the guitar player AND singer, it lets you focus on singing, and not have to pay attention to how hard you're strumming.
I swear of all the effects out there compressors are the ones that have highest learning curve. Even now, I really can't say I'm anywhere near mastering compression, and that's after attending music courses in college and University. I'm still learning new things about them. Knowing how to apply attack and release controls I'm still not 100% on. The tone shaping aspect of compression is also a higher level function that still an ongoing process for me. It's all part of the process.
And that is why, for most guitar players, the compressor with the fewest knobs is best. For years, I had the original Keeley and was very happy, because with 2 knobs there wans't much that could go wrong. With fancier compressors like the Empress that I currently use, the problem is interactivity. To some extent, each adjustment affects the others, so you chase your tail forever. But the Empress is so transparent, it sounds good at almost any setting. Who knows if I have it set right.
Seriously. That woulda been great. We have no point of reference for your dry vs wet sound so in all honesty this doesn’t tell us much of what the compressor is doing to your dry signal. 🤣💯
Before I got the walrus audio mayflower, I used to use a compressor and an EQ pedal to get a really distorted sound while maintaining clarity in the voicings I was playing
Been following you since the early Fano/ Tone King days in the first studio and I really appreciate your ability after all this time to not take yourself too seriously and while dishing out valuable content on regular basis. Great playing btw. All the best!
I run two compressors, similar to a good buffer setup. 1 on the input and 1 on the output after the amp. I do this on an HX Stomp. The equivalent in a non-virtual setup would be like sending the mic’d amplifier into a studio compressor, then I run real analog delay after. It’s like a portable studio. Guitar > gain pedals > squash compressor, 40% mix > amp > modulation effects > mix/studio compressor, 40% mix > delay > speaker
@@AllofJudea I seriously doubt it sounds good. Maybe to an untrained ear, but I have yet to hear anything “modeled” sound good. Most of the time they sound nothing like what they’re going for. Kinda like those multi-effect processors from the late 90s early 2000s. Sure, they claim their “AI” is better now, but it’s not. There is no air moving, there’s nothing but sterile digital signal. Fucking crap.
A before and after dirt pedal would have been nice to hear. In that same vein, before and after the preamp, aka in the loop. For those of us that are down with the chug life, at the front, helps keep some of the details that might be lost in all the over saturation.
@@thebrunoserge not disagreeing there. However, it does have its uses. For instance, playing a lot of fast technical things, or fast repetitive (think Fear Factory). Really depends on the level of saturation. My opinion is that for more dynamics, use the loop.
Bought a little Fairfield Circuitry FET compressor pedal and hated it when my only amp was a Vox AC-15. The amp already had enough compression built in. It wasn't until I got a more powerful amp with more headroom that I understood how to use the compressor pedal for clean sounds.
Nice content, and good explanations for the benefit of the new compression acolytes. Wish you had used the same setup (guitar-amp) to illustrate the different varieties of compression, though.
I'm currently flipping compression settings around trying to figure out what gets me the sound of ultra compressed heavy distortion that i like on hard rock and metal .. it's kind of difficult to figure out exactly what the key element is
Play snow but how John does it! For like 2 minutes of the song! I just can't do more than three rounds and it starts to sound crappy and missing notes 😬 great video by the way
Compression does not give you more "loudness" 1:16. Compression REDUCES loudness by attenuating loud signal. It increases volume by boosting quiet signal. Loudness and volume are very different. Loudness is measured at one point. It's one dimensional, like a line segment. Think of a loud drum hit. It's very loud for a very short transient loudness peak. You can graph this by drawing a vertical line segment from the x axis up to the peak. Volume is measured over a period of time, and is three dimensional. When an organ player gets almost as loud as the line segment drum hit and stays approximately that loud for five minutes, the total five minutes of sound multiplies out to much more volume than the single drum hit, even though for a fraction of a second the drum was louder than the organ.
a small but meaningful correction: compressors don't typically boost the quiet parts of your sound *and* attenuate the loud parts, they do one or the other. usually they just attenuate the loud parts according to a dB threshold, and via a ratio, one or both of which are often preset within a pedal, as to decrease the amount of knobs and to create a more user friendly interface. its important to know that this means compressors do not inherently introduce additional noise or sustain with more aggressive settings, but when you use makeup gain to make up for the volume lost in attenuation, as most people do in order to not see a volume decrease and boost sustain, it also boosts the noise floor. doesn't change much about what you're saying but i think this provides some clarity for people who are getting used to using compressors.
I kind of remember reading that the compressor was first made for the telephone, to make up for the discrepancy of volume of different people's speaking voices. Maybe I'm misremembering though.
I'd say yes, but everything is relative. Cheap ones can often be good too, of course. In my experience, more expensive ones are often more silent, though.
Where in the signal chain would you place your compression pedal? I've usually placed my compression pedal between boosts/overdrives and reverb/delay. Great channel! Side note: The other day, I randomly mentioned that I've had seen an eyeopening Klon/Benson video here on YT to a guy who happened to be Eivind. Great guy!
I also like compression after drives! People will say that's "wrong" but I love the ability to dynamically affect the breakup amount with digging in or light touch.
Haven’t used a compressor before until about 2 months ago apart from vsts, didn’t think it would be useful as it is as a guitar pedal esp messing around where it goes in the chain
honestly, I'm not sure if it's that useful to show different compressor uses while mixed with other effects (chorus, phaser, etc). I couldn't really grasp the unique contribution of the compressor
He uses MXR dyna comp. All the way back to Blood Sugar (Mellowship Slinky), but mostly on the new album. Not sure if he used it on the songs played in the video though.
In my humble opinion, the aggregate artistic effect of a compressor on a guitar becomes, simply, a legato effect that simulates loudness. Why? Well, staccato requires wide dynamic range between sound and silence. Get rid of that difference, and the average between those two things sounds legato. Why loudness simulation? The human ear compresses when introduced to loud sounds. When our ears hear a compressed sound, it is tricked into thinking that whatever made that sound must have really made it loud. This is why the "loudness wars" are a thing, because that feeling of loudness is pleasurable to the ear so long as it doesn't painfully overload.
7 million baby!
Lets gooooooooo
What riff is that, the one you refer to at 3:08 or so, 'please don't play that riff here'?? Obviously the one right bore that, at 3:02 but I have no clue. I never listen to the radio, I hate the commercials and the crappy music of today.
Compressors were actual first made for the first telephones, to even out people who were yelling and those who were soft spoken since no one knew how to use this new technology and no phone etiquette exists yet. Just a fun nugget for ya
Thanks, didn't know that!
I expect it also helped with bandwidth too as there was a smaller range of possible volume levels.
Are you sure? Compression was first used for radio broadcasts to keep from over modulation. The earliest compression circuits were quite large and would not have fit in the old phones. At least that’s what I learned in frequency and signals class.
Sounds bs
Wrong. Made first for military to keep levels more consistent while coming from relatively quiet (bases) sources with louder (planes) and even louder (active war) so the dudes with the headphones on listening didn't get their ear drums smashed in
Another interesting use for compressors that i discovered recently is using it with an overdriven amp or distortion pedal to clean up the sound. Basically like turning down the volume knob on the guitar but with more control
mike from incubus uses this technique
Like an "underdrive" 😆
didn't know about this. Thanks, will try!
nice ... not sure about 'more control' though
have you considered to do it like this:
60-75% signal from guitar -> compressor -> distortion/overdrive
I've built, bought, and sold at least a dozen or more compressors. One of my all-time favorites is the first one I ever bought, in the late '70s: the Univox Uni-Comp. It is probably the simplest optical compressor ever made. And while it is clean, it is an *effect* and not the sort of thing one would describe as "transparent". I.E., you can tell it's on. It has a special affinity for Telecaster bridge pickups.
One of the most important functions of guitar compressors is that they allow the player to unhook volume from tone. You can get the same volume level, whether you deliberately snap the strings or gently brush them. Volume dynamics are certainly important for conveying feeling and emotion, but so is timbre and pick attack, and sometimes you just want to provide that emotion simply by getting the string to behave differently. You illustrate that aspect nicely around the 3:40-3:50 mark. The percussive aspect of Telecaster bridge pickups is one of those areas where compressors shine.
Additionally, from a performing perspective, compressors are especially useful in yielding a good mix to a band by letting a guitarist slam away without the risk of drowning out a singer or other bandmate. We tend to think of pedals in terms of our own personal sound, but compressors allow a band to sound more like a recorded studio mix, than a bunch of people occasionally drowning each other out. And if you happen to be the guitar player AND singer, it lets you focus on singing, and not have to pay attention to how hard you're strumming.
I swear of all the effects out there compressors are the ones that have highest learning curve. Even now, I really can't say I'm anywhere near mastering compression, and that's after attending music courses in college and University. I'm still learning new things about them. Knowing how to apply attack and release controls I'm still not 100% on. The tone shaping aspect of compression is also a higher level function that still an ongoing process for me. It's all part of the process.
And that is why, for most guitar players, the compressor with the fewest knobs is best. For years, I had the original Keeley and was very happy, because with 2 knobs there wans't much that could go wrong. With fancier compressors like the Empress that I currently use, the problem is interactivity. To some extent, each adjustment affects the others, so you chase your tail forever. But the Empress is so transparent, it sounds good at almost any setting. Who knows if I have it set right.
Gilmour is also a good candidate for the master of compression
indeed!
Great playing man!
Wish you did an on/off comparison (ideally off of a looper pedal) for each compressor setting to show what it really does to the sound.
Seriously. That woulda been great. We have no point of reference for your dry vs wet sound so in all honesty this doesn’t tell us much of what the compressor is doing to your dry signal. 🤣💯
Dry sounds like a guitar without compression. Easy.
Before I got the walrus audio mayflower, I used to use a compressor and an EQ pedal to get a really distorted sound while maintaining clarity in the voicings I was playing
Great video and sound as always. Though, would have been informative to hear the dry signal also.
Thanks, noted!
Agreed!
Been following you since the early Fano/ Tone King days in the first studio and I really appreciate your ability after all this time to not take yourself too seriously and while dishing out valuable content on regular basis. Great playing btw. All the best!
Thanks a lot! The Fano/Tone King era was awesome. Still have the old Fano, but now with a new Tone King :)
@@eirikstor Yeah, saw that you had a Tone King again. Such good amps. I also have an Imperial. ;)
I run two compressors, similar to a good buffer setup. 1 on the input and 1 on the output after the amp. I do this on an HX Stomp. The equivalent in a non-virtual setup would be like sending the mic’d amplifier into a studio compressor, then I run real analog delay after. It’s like a portable studio.
Guitar > gain pedals > squash compressor, 40% mix > amp > modulation effects > mix/studio compressor, 40% mix > delay > speaker
I’m sure it sounds realistic.
@@smelltheglove2038 probably not but it might sound good, which is an important part of it all
@@AllofJudea I seriously doubt it sounds good. Maybe to an untrained ear, but I have yet to hear anything “modeled” sound good. Most of the time they sound nothing like what they’re going for. Kinda like those multi-effect processors from the late 90s early 2000s. Sure, they claim their “AI” is better now, but it’s not. There is no air moving, there’s nothing but sterile digital signal. Fucking crap.
Dude you NAILED Kevin Parker’s tone!!
A before and after dirt pedal would have been nice to hear. In that same vein, before and after the preamp, aka in the loop. For those of us that are down with the chug life, at the front, helps keep some of the details that might be lost in all the over saturation.
I never liked compression before distortion. Sounds so unnatural and ruins all the dynamics IMO
@@thebrunoserge not disagreeing there. However, it does have its uses. For instance, playing a lot of fast technical things, or fast repetitive (think Fear Factory). Really depends on the level of saturation. My opinion is that for more dynamics, use the loop.
the over compression on the guitar on under the bridge drives me nuts ....
Thank you for saying all this. It needed to be said.
The sound examples would greatly benefit from an A/B comparison between compressor off vs compressor on,
that way we can hear what it actually does
Bought a little Fairfield Circuitry FET compressor pedal and hated it when my only amp was a Vox AC-15. The amp already had enough compression built in. It wasn't until I got a more powerful amp with more headroom that I understood how to use the compressor pedal for clean sounds.
The Accountant? I love that pedal. Certainly not the most subtle compressor but that's part of why it works for me!
Nice content, and good explanations for the benefit of the new compression acolytes. Wish you had used the same setup (guitar-amp) to illustrate the different varieties of compression, though.
I'm currently flipping compression settings around trying to figure out what gets me the sound of ultra compressed heavy distortion that i like on hard rock and metal .. it's kind of difficult to figure out exactly what the key element is
Play snow but how John does it! For like 2 minutes of the song! I just can't do more than three rounds and it starts to sound crappy and missing notes 😬 great video by the way
I did a video tutorial on it that may help
Never seen a comp on his board lol.
Anyone noticed if Fruciante uses compression pedal on live? I would love to see the practical uses of it live arenas and on small bars.
It's really helpful live! Keeps players from drowning one another out at times
I was hoping for a song to hear in loop here
Compression does not give you more "loudness" 1:16. Compression REDUCES loudness by attenuating loud signal. It increases volume by boosting quiet signal. Loudness and volume are very different. Loudness is measured at one point. It's one dimensional, like a line segment. Think of a loud drum hit. It's very loud for a very short transient loudness peak. You can graph this by drawing a vertical line segment from the x axis up to the peak.
Volume is measured over a period of time, and is three dimensional. When an organ player gets almost as loud as the line segment drum hit and stays approximately that loud for five minutes, the total five minutes of sound multiplies out to much more volume than the single drum hit, even though for a fraction of a second the drum was louder than the organ.
5:55 to 6:02 *guitar heating engines about to take off and flies away*
Love the video! Please do a video with a rickenbacker! Would love to hear you play one of those
Thanks Filip! I really want one! Can't afford to prioritize one atm though :/
Using clickbait titles to reach those 7 mil (baby) is.... Well played!
Great video as always.
Thanks. 7 mill baby
Thanks for not going into the technical stuff, i know all that, but i'm new to guitar sounds and effect purposes. :)
a small but meaningful correction: compressors don't typically boost the quiet parts of your sound *and* attenuate the loud parts, they do one or the other. usually they just attenuate the loud parts according to a dB threshold, and via a ratio, one or both of which are often preset within a pedal, as to decrease the amount of knobs and to create a more user friendly interface. its important to know that this means compressors do not inherently introduce additional noise or sustain with more aggressive settings, but when you use makeup gain to make up for the volume lost in attenuation, as most people do in order to not see a volume decrease and boost sustain, it also boosts the noise floor. doesn't change much about what you're saying but i think this provides some clarity for people who are getting used to using compressors.
Thanks for this!
I kind of remember reading that the compressor was first made for the telephone, to make up for the discrepancy of volume of different people's speaking voices. Maybe I'm misremembering though.
I think you are right
Is there a difference between a cheap compressor and a relatively expensive compressor?
I'd say yes, but everything is relative. Cheap ones can often be good too, of course. In my experience, more expensive ones are often more silent, though.
@@eirikstor thank you. I've noticed the kokko compressor is noisy it's a cheap comp. I'll invest on a good one. Which do you recommend?
Attack and release slow or fast works in the opposite way my guitarbro greetings!
Great vid! What's the red guitar on the Tame Impala part?
“But I have hands….” 🤣
what other compresses pedals can you turn up to overdrive the compressor circuit?
Where in the signal chain would you place your compression pedal? I've usually placed my compression pedal between boosts/overdrives and reverb/delay. Great channel!
Side note: The other day, I randomly mentioned that I've had seen an eyeopening Klon/Benson video here on YT to a guy who happened to be Eivind. Great guy!
Usually first in the chain!
Oh wow, you did? I guess you met him at Vintage Gitar then?
@@eirikstor
Yes, indeed! Nothing beats a passionate music shop.
I also like compression after drives! People will say that's "wrong" but I love the ability to dynamically affect the breakup amount with digging in or light touch.
@@Merlincat007 there is no wrong if it results in a sound you like
@@AllofJudea Yep!
It’s “quieteresterest” actually. Ffs.
ah thanks!
@@eirikstor Anytime, I’m really into music.
Haven’t used a compressor before until about 2 months ago apart from vsts, didn’t think it would be useful as it is as a guitar pedal esp messing around where it goes in the chain
What is that amazing effect at 5:55 that keeps ascending the note/chord??
Digitech Ricochet
@@eirikstor Thanks for that info'......great pedal
7 million ?
Wait, what. This is an old video……? Fy faen
Hello, very interesting explanation. Would you recommend using a compressor with a HH guitar?
I disagree. Play snow as much as you’d like on this channel.
That was actually Slow from RHCP.
slow hey oh?
@@eirikstor That's how I play it too 😂🤣
the bass sounding rlly good
🤝
Does anybody know what telecaster this is?
Gray Guitar Admiral
I have no use for compression. I love the dynamics of my amps.
That’s fine if you don’t record or play live/with other people
You kever talled about where to place compression in the chain 🤦🏻♂️
honestly, I'm not sure if it's that useful to show different compressor uses while mixed with other effects (chorus, phaser, etc). I couldn't really grasp the unique contribution of the compressor
Great examples of how to use a compressor.
Red Hot Jalepno Peppers had me dying lmao
Compressor works really well with 12-string electric guitars..
Did you ever cook 4900 pounds of spaghetti and fill every piece of clothing that you own with it?
where is that quote from again? Can't remember!
@@eirikstor DVD By Sexy, right?
@@eirikstor
1:29
ruclips.net/video/dANXwmKlNp8/видео.html
I know a guy... maybe you will not understand the language... but it's DEFINITELY worth it
ruclips.net/video/R93N0AXhoQk/видео.html
"but hey, I have hands" hahahahaha
This taught me nothing about compression lmao
Please check links attack and release time slow clockwise fast times counterclockwise !!!
Check links? What
all nice and lovely but Frusciante doesn't use compressor pedals to my knowledge.
He uses MXR dyna comp. All the way back to Blood Sugar (Mellowship Slinky), but mostly on the new album. Not sure if he used it on the songs played in the video though.
Don't think he uses compressors live, but in the studio?
A compressor is a tone shaping tool.
I couldn't hear you over that Guns N Roses shirt 🌹
Original one as well!
Red Hot jalapeño Peppers… that’s great
My caveman ears still cannot grasp what a compressor does.
Look up Dan Warrall Compression
Great vid 👍
Thank you!
A korvpressor
Falukorvpressor
my fav vst compo is called korvpressor
From Klevgrand
Ok so whats the story behind Snow on your channel? hahahaha
haha, I just think it's an annoying riff. So stressful to listen to
@@eirikstor hahahahah and a pain to play it too
yeah, can't play it more than one round consistently.
In my humble opinion, the aggregate artistic effect of a compressor on a guitar becomes, simply, a legato effect that simulates loudness. Why? Well, staccato requires wide dynamic range between sound and silence. Get rid of that difference, and the average between those two things sounds legato. Why loudness simulation? The human ear compresses when introduced to loud sounds. When our ears hear a compressed sound, it is tricked into thinking that whatever made that sound must have really made it loud. This is why the "loudness wars" are a thing, because that feeling of loudness is pleasurable to the ear so long as it doesn't painfully overload.
Nice title freak
Thanks
p̷r̷o̷m̷o̷s̷m̷ ✅