Compressor pedals limit the peaks in your signal while bringing up the quieter parts. Balances evens out your volume and response. Very handy for slide playing.
@@rockwriter9054 last in the chain is good if you set compression subtle, because, if you think about it, that is where you get natural tube compression from your amp, at the very end, however, with compression pedals they exaggerate the inherent noise of every pedal before them, so if you want more extreme compression and want to keep the noise floor low, they are best placed first in the chain after the guitar.
Once again my friend you made the unclear into crystal!!! I really liked the way you used recording software to show the effect of compression then pedals for real time application. Your shows just keep on getting better, already waiting for the next! Thanks!!!
1) Why are compressors the sound of rock? Simple. All throughout the '50s, '60s, '70s, and well into the '80s, music was recorded on tape, which had dynamic limitations. It was played back to end-users on vinyl disc, which also had dynamic limitations. And we bought records based on hearing things on the radio. EVERY broadcast studio has limiters because FM, and especially AM (rock FM stations not really arriving throughout much of the world until the '70s), have serious dynamic constraints, such that heavy limiting was needed for broadcasts to have some reasonable hope for fidelity. Bottom line: everything about classic rock has been squished, re-squished, and squished again, and that's what "normal rock" sounds like to us. On top of that, nearly all distortion, that guitar players love so much, results from running up against headroom limitations, whether it be in a pedal or in the amplifier itself. So yet another reason why we think proper rock and roll sounds compressed, and needs to. 2) Compressors do NOT create sustain. They create the *illusion* of sustain by gradually raising the gain as the guitar signal dies away. If the compressor's gain-recovery and the guitar's inherent sustain co-operate, it will sound like it sustains longer. Volume will enhance sustain more than any compressor will. 3) Nearly every compressor will tend to dull your tone. Why? Most of the harmonic content (treble) in any picked note lives in the first 50msec or less of the guitar signal, or what I like to call the "note's lifespan". After that initial pick attack, the string dies down to become mostly note fundamental with a smidgen of harmonic content on top. Compressors will pull back the gain for the pick attack, and gradually raise the gain again *after* all that natural treble has disappeared from the landscape, making the "warmer" sound of the fundamental-only appear as the dominant timbre. This has nothing to do with the "quality" of compressor, or whether it uses photocells, FETs, transconductance amps, or whatnot. Many modern compressors will include a "blend" control that combines some of the uncompressed signal with compressed. The decay of the uncompressed signal will disappear quickly, but you get to keep the initial attack and its tone. The compressed version of the input signal won't have much of the attack tone, but it WILL have the long-lasting fundamental. So you get the best of both worlds from judicious use of the blend control. 4) One of the biggest distinctions between compressors is their gain-recovery time. That is how quickly they return to full gain after momentarily pulling back in response to the initial pick attack. One can usually only "hear" differences in gain recovery with big variations in picking speed. Historically, players holding notes on their Les Paul loved the MXR Dynacomp, while country players chicken pickin' on their Tele loved the Dan Armstrong Orange Squeezer. The stock version of the former had a long gain-recovery time, while the latter had a comparatively short one. Because slow gain recovery time gets in the way of hearing the pick attack of the *next* notes played after the first one, many pedal manufacturers who included a control to vary gain-recovery time labelled it "Attack", though it actually does not technically change attack. Fender's recent The Bends compressor took the righteous path and called the control what it is: Recovery. Most players will be hard-pressed to be able to hear small to medium changes in gain-recovery time, which is why I think EHX did the smart thing with the Soul Preacher and just used a 3-position toggle for fast-medium-slow. 5) One of the more useful applications of compression for a gigging musician is keeping the guitar level constant when trying to sing and play at the same time, or when playing rhythm behind a singer. It's all too easy to let one's enthusiasm get the better of you and slam out a distracting and disruptive peak. A compressor will assure that your live playing has the same qualities as a good master mix. 6) I have and have had easily 15 or more compressors of various kinds over the years, some of which I bought, and some of which I built, from simple 2-knobbers to rack-mount. I bought my first one in 1977 or so. Oddly enough, for whatever reason, it remains my favourite: the venerable Univox Uni-Comp. It is as simple an optical compressor as one could ever find. Bloody long gain-recovery time, and is as untransparent as compressors get. It is very much an "effect", and maybe that's why I love it every bit as much as Telecaster bridge pickups do.
Mark Hammer wait a minute! You’ve done some reading, haven’t you? Clever mate, you are... Thanks for taking the time to actually teach us “your side of the story“. (I prefer the Keeley “four knob” for my style and for almost all my guitars. And I enjoy Joe Meek’s rackmount VC6Q… Mainly a vocal pre-amp, But it’s compression has a very nice effect on several of my guitars.) I only added the parenthetical so you would know a little slice of my life that might explain my choice. Cheers. And just like the chap that did the video, stay safe and stay healthy. And, most importantly, God bless.
Thanks Mr. Hammer I am building my first pedal board and I just picked up a really inexpensive compressor just to see if I could figure out how to use it. I know this is an old thread, but I just wanted to say thanks for the information.
Ahh never really saw Compression the way others see it then. It's a really interesting guitar effect that makes the plucking, picking, and strumming more electrified for the purpose of the electric guitar! Awesome and interesting sounding indeed!
Hey mate, this is one of the best videos you have ever done. I am only a newbie with guitar still, but I often struggle with my solos sounding thick and present with the backing track. I appreciate the time you took to show post processing on Studio 1 and all the different compression pedals. Awesome work Darrell. Cheers from Australia.
Nice to see pedals are back not that many pedals showed nowadays I have 4 compression pedals but I always go back to Boss CS3 keep up the good work well appreciated from the UK
Very nice change of pace with this one. Really nice seeing you interact amd talk through your thoughts on different pedals. This format would be great to do more of in the future. Thanks again.
There was once a time when people wanted dynamic range in their recording media and in their stereo amps. They listened to things like "Love Over Gold" and "Dark Side of the Moon". Quiet parts were quiet and loud parts were loud because that was the point. Also, listeners would actually listen.
Compression is good sometimes if you want take a quite part and put it under the spotlight for a few seconds but sadly people are using too much compression it's just like putting on too much makeup
The best explanation for compression and what it does and how it sounds. I loved the graphic visual representation of the guitar signal effects, which helped it all make sense to me. Very well done!
The soul preacher has an internal volume trim pot. You can adjust it to make the volume control unity gain at 12 o’ clock. There is a video on RUclips about optimizing your soul preacher and it really makes the pedal better.
Thanks for explaining this. Especially showing it in a recording context. Most other videos about compression, though well-intended, usually end up being "it's for bring the highs down and the lows up" and then 10 minutes of turning knobs to see how it affects sound.
11:38 I remember when CDs came out touting greater dynamic range, and CD players in cars were a new thing. I thought: Yeah geat for a car, set the volume for the loudest bits and road noise will drown out the quiet bits, turn it up for the quiet bits and get deafened by the loud bits. Compression works for greater ambient background sound, but it sucks for lounge listening. That being said, I did buy a compressor in the same purchase as my new MIM Tele, where it helps smooth out my inconsistent picking force :-)
Diamond Compressor from Canada = Incredible, transparent & super quiet. No pumping & breathing. Also liked the Alien and the Keeley Pro. Drybell Unit 67 is also nice. Great Demo & Explanation. One of the Best i've ever seen actually.
I use a Kongpressor and CS3 - The Kong is the best I have ever heard - so natural - great as a boost or always on pedal. The CS3 is a classic but can be a bit too much - I just use it just for solos.
Swiss Army Knight Yeah I hardly use my Dynacomp anymore. I have some country gigs here and there sometimes and I'll put it on my board. But that's about it.
amazing video thank youso much, i needed this...this was one of the best pedal videos ever (and i watch every That Pedal Show, Andertons and JHS vlog)...awesome job man.
note: the ehx soul preacher has a trim pot inside to adjust the volume which also adjusts the compression. looks like someone adjusted it down. because the stock soul preacher has much more volume than what you were getting in the demo.
Well done video, Darrell. I think compression is something of a mystery for some players, especially the younger folks just starting out... It might seem as though you're buying a pedal that doesn't do anything compared to a distortion or a chorus but as you've demonstrated it can be a critical component in the signal chain.
Darrell, great episode here and great timing! I'm using a Mooer Yellow Comp for my acoustic guitar signal chain. Affordable, and for what I needed it fit the bill nicely. On my Katana...still figuring it all out with the on-board compressor choices, but this lesson reigns it all in will definitely help in my tinkering. Thanks for producing and posting this video!
I found a compressor for almost price of shipping. I am sure someone was told they have to have one and couldn't figure out what it did and just sold it online for next to nothing.
Hi, I have read the article "The Loudness Wars" and I had the same impression of Mark Hammer first point: something missing. Don't get me wrong, useful article, but there are other aspects to consider. Compression was first used to reduce the dynamic mainly because radio broadcasting, tapes and vinyl had a limited dynamic capacity and were noisy. Using the compressors engineers discovered soon that every compressor had a different personality, (non-linearity, distortion, attack & release time, etc..). The sound was "shaped" by compressors, not just "compressed". Most used since their introduction: Urei 1176, Teletronics LA-2A, Fairchild 660/670, Distressor, dbx 160, SSL Master Bus Compressor, etc... They are still used in the digital era! They are reproduced in plug-ins. So, the compressors should be considered an "effect", not just a sustainer. I personally use on my guitar an optical compressor of an old Focusrite channel-strip: Platinum Tone Factory. It can be bought around 90 euro for sale online, and you have a nice discrete pre (kind of DI function) + an optical compressor + a parametric eq + a noise gate + gate key + send & receive... Yes! Everything for less than 100 euro. The equivalent of 5 pedals with studio quality in one rack channel. There are many old channel strip with great "personality", like Joemeek, for sale at a very interesting price. I would suggest you to try for less than one single boutique pedal. 😉
When I built my studio and started recording I had a dbx compressor,and it was single rack..it took me a week to record my CD then after that during mixing,it took me a whole year to mix the disc,when I started using compression,I had to learn what each button meant and how to use it..It was a learning experience..
Darrell - I'm a bilt surprised that you didn't use a couple of staples in your "shootout". I was expecting to see an MXR Dynacomp or ROSS compressor, since they are pretty much everywhere, and would have given folks an idea how these newer offerings stacked up against standards that have been around for decades. However, I do realize that you can't put everything on the board, otherwise, we'd be there for hours. Not a slight on the video at all, as it was your usual brilliant, thorough, informative review, which we've all become accustomed to. Cheers and keep the amazing videos coming. Probably my favourite channel of all!!
The MXR and the Ross are the same circuits (MXR cloned Ross IIRC) with slight variations in the values that don't amount for all that much. The Keeley and Wampler compressors are mods to that with components of better quality and some extra features but with the same basic sound.
Death, taxes, and compression! Compression is the behind the scene effect that runs all modern day audio - for better or worse :) The second half of the video features the 8 compressor pedal comparison and my recommendations. Enjoy!
@@LuchieJ I got an CS-3 on my board. It's fully modded with a Opto + and dual stack mods. I don't know what that means, but it's louder and quieter than the stock 1 I got. All that said it's been on my board for a yr and I'm not liking it's effect on my sound anymore. I got a 10 band EQ modded with silent mod so that clears up noise level. It's a nice boost, but I got 1 of those also. Actually 2 if you count my wah has a boost also. Guess this opens up a spot on my board in the future when I get something good.
I've usually placed my compressor after mod effects like chorus, reverb, etc. Maybe I'll try moving it to the front of the chain. I don't really like that squishy or poppy sound, but I use it if I've covering something famous that was highly compressed. I also hate what it does to my dynamics. I tend to use it more like a clean boost for some leads but its off most of the time.
The modern standards for mixing do work well when it comes to, as you said, music being played in a car, at restaurants and especially in places like bars and nightclubs. If you’re anywhere with background noise, the old method of mixing music would result in some parts being loud and clear but other parts being drowned out entirely. I don’t blame people for wanting to go back to the golden age of dynamic range but it just isn’t very practical when virtually every person who will listen to the song will do so with at least a little bit of background noise. Very few people ever just sit and listen to an album these days.
I appreciate you mentioning that compression isn't used in classical music, which explains why I have to ride the volume control when listening in the car.
Darrell have to give you credit for adding the Behringer pedal as a favorite. So often with younger RUclipsrs ( Your the Hip I'm the The Hip less generation) only like the quote Boutique and expensive products. so big thumbs up on that. I have actually never heard the Behringer but it shows equality on your part.
It would be great to see a follow up with the Origin Effect Cali76, Diamond CPR-1 Compressor, Walrus Audio Deep Six, JHS Pulp 'n Peel and Empress Compressor along with the Orange Kongpressor,, Strymon OB.1 (now discontinued), Keeley Compressor Pro, and Analog Alien as best in class compressors.
Hello Darrell, it’s been a while since I have bothered you but it’s time again. Watching your RUclips movies have saved me money by putting me in the right direction before plopping down cash and getting the what have I done moments. So here is my question this time. What is the Best DAW and plugins for a complete beginner like myself. You make it look so easy and I understand that comes with experience. My computer knowledge is limited but I do not feel mashing buttons. The last time I recorded anything was a letter home from the jungle on a dictation machine. Before that we used two reel to reel 4 track machines. So now I’m ready to swim in the real world. I liked the color type setup you use but....... any help son? Thank you for your time and your fantastic movies. Please keep up your efforts they are greatly appreciated. God Bless. Most Sincerely, Pops Fitch Post Script: I did purchase a new desktop computer with all the bells and whistles (no manual though “it’s online”..right) it’s got rams and taridips and the works the salesman told me and it’s not an apple whatsitthinggy.
Pedal recommendations requested: I’m looking for a pedal that is pretty much exactly like the MXR Studio Compressor (or Bass Compressor - same thing), but with midi, preferably running at under 100 mA, and not larger than a standard boss pedal. It’s OK if it is boutique; I’m willing to spend some money for the right unit. Thanks!
Man, I love your videos but this one was especially good! I listened with headphones to drown out the incessant drone of my annoying sister-in-law's voice (visiting us for Thanksgiving 😏) so that was an added bonus to a GREAT video. Thanks, Darrell! I think I'll buy an Alien from Sweetwater on Black Friday.
Compression is a very confusing effect, it has so much to it, and yet it is very misunderstood. Even so, I have found that it really helps me a ton to get the sound I want. I used the Boss CE3 for a while and I just never really bonded with it. I found it super noisy, which is a common complaint. I have used a few others as well. My favorite compression pedal is the Westminster Effects Calvin Compressor.
When playing at normal volume, my ears fatigue less quickly using compression, probably due to the lack of spikes in sound. That's a benefit I had't considered before.
I think recording/mixing compression and guitar fx pedal compression, while similar, are actually used for different reasons, and to different effect. Right?
@@RodrigoR9 There is much more that could be discussed or experimented with. For instance, mild comp after an OD lets you interact with the tone changes when hitting the OD harder by picking/strumming harder. Also, there is the whole chicken pickin "pop" that Darryl is apparently not a fan of. I noticed he placed the ones that helped achieve that sound lower on his list.
Yes and no. Nowadays there are compressors of every type in the form of pedals, employing the range of technologies used in "recording/mixing" compressors. I mean the Cali76! An 1176 you stomp on! It's madness we've entered! So you now have access to all types of compressors right there at your feet. Truthfully, though, a lot of compressor pedals are like coloring with big fat crayons. They lack control over the basic functions of a standard compressor, leaving you with only broad strokes. But then there are the Keely and the Cali76, and many others, that give you the actual control over the compressor. So, there is something for everyone. Most guitarists I encounter are not very technical in nature, they just like more loud, so maybe the basic compressor pedal is more appropriate for them as the notion of threshold, attack and release makes blood drip from their noses from all the mental work of thinking about such esoteric things (they're not really, just in case you're missing my sarcasm).
I tested all compressor pedals available. The Boss 3rd gen. Compresor pedal is the least noisy of all. Been using a Boss comp pedal for ever. It is the only pedal i always use for soaring sustained lead solos.
I'm glad that instead of comparing the pedals like I was looking for, you explained the basics of compression using software compressors, and tried to teach me how to use one, and played guitar for less than ten minutes in this thirty minute video.
I understand the point of compression nowadays (as Darrell said in the video, everyone listens to music in the car, in the gym, walking around, and you want to hear everything, not "kinda hear" the quiet parts). That's why I always listen with my headphones at top volume, because I'm used to listen to songs with a lot of dynamic range, and I need that boost. But then the loud parts come in and, well, how do I stop my ears from bleeding?
Great explanations! I have a soul preacher and it is definitely not that quiet, there's a trim pot inside the pedal (top right when you take the back off) that sets the input gain and it was probably set way too low from the factory or by whoever owned the pedal before you. a few small adjustments with a screwdriver to the pot and it will totally transform that pedal!
Agree, the soul preacher wasn't shown off fully to its capabilities and was wrongly criticised. I've had it for years and just recently upgrade to the wampler ego but I'm keeping the soul preacher for light compression for my acoustic guitar.
Not sure if you are confusing 'dynamic' compression (as offered by these pedals) and the 'data' compression used by YouTuve to reduce data rates. Very different things.
Wicked comparison between the pedals and you made it very easy to understand what's going on. I've been using the compressor on the Katana 50 amp, but I think I may have to buy a pedal now..
The loudness wars, the sausage makers. This was helpful for me, I struggle with compression and how much to use and when. Then there's multiband comps, it's too much!
Well, I think you need to choose how much compression you want, and what type of compression you want. It is an aesthetic choice, just like overdrive/distortion or delay with all its various types. Remember, the first victim of war is truth, this certainly applies to the loudness war. Don't fall victim to the notion that you need huge amounts of dynamic range to be valid, or conversely, that you need to brick out every sound you make. You really have to understand compression, the sound of it, and make informed choices (just like with everything else in making music!) I've had people (literally) yell at me because there was too much dynamic range in a piece, and a different group of people yelling at me for not enough dynamic range in the same piece. Why all the yelling? If it is my piece, and I'm responsible for it, it's my choice, I choose how much dynamic range there is. Other people get to choose if they like it or not. I'll also say that sound systems respond differently to dynamics. Some systems like a smaller dynamic range, others need the dynamics to really sound good, this is more of a technical issue rather than aesthetic, but you know, this thought is parsley- often thought as merely garnish, but actually quite nutritious. I know what you mean, though, like one more thing to worry about, or ponder endlessly... but it just seems like that at the beginning, like everything else, things seem bigger and unknowable when we first encounter them, but then when we've had some experience with them, they start shrinking, become manageable, and then maybe even seem trivial. It's maturity mate! *you can do it!*
I think the worse use of compression is in movie tracks. Went to see a movie recently. It seemed like the background music was the same volume as the actor's voices! Isn't background music supposed to be just that, in the background, not the same level as the voices? The whole movie sound track seemed extremely too loud! Don't misunderstand me, I love loud music, but I also like to hear what the actors are saying. I miss the old days before this effect was overused.👍😎🎸🎶
Hi darrel would you please Think of doing comparing some guitar stands (Sorry for my bad english if there is any) and by the Way i didnt know what a compressor did until now so Thanks darrel
Very informative, as usual. If you put a Monte Allums kit in the Boss, all that hum will go away and it has more fidelity too. I did it and was amazed. I did 3 other types of pedals with his kits and got big improvements every time. I do think the strymon sounded best though.
I'm into soulful guitar solos with lots of sustain. (Marillion, Santana and heavier stuff). Buying a guitar with a sustainiac pickup, like a Schecter makes no sense as I don't earn from music. So I found you can improve sustain with compressor pedals. But I've discovered that makes my playing very noisy and then I reduce the gain, and raise the noise gate and get a nasty tone out. Also I use headphones and everything is extra noisy. In the end I don't think compressors are for me but this video cleared things up. Thank you
I don't use my Boss CS3 compressor sustainor at all. I tried hard to find a tone I like, but I prefer natural sound, while I'm just a bedroom player so no need for clipping squishing. Reverb I prefer from sustain. Thanks for explanations 👍
I have come to the same conclusion in the same situation (living room player, though - not quite the same). Heavy compression evens out sloppy playing or unbalanced strings and robs dynamics while subtle settings help solve problems I do not have. There should be a middle ground to find somewhere, though. Maybe I'll try again.
I'd love to see more videos showing how to mix guitar in a DAW. Your explanations are easy to follow. It would be something to change up the format a little.
People want entertainment mostly whilst doing other 'important" things in their lives. Listening to music to really enjoy it used to be the norm., which is why I still have a collection of vinyl records. The only compression I miss is from my hot rodding days when the heads were 12.5:1 running on Sunoco 260 with 106 octane in a Mustang Boss 302.
Compressor pedals limit the peaks in your signal while bringing up the quieter parts. Balances evens out your volume and response. Very handy for slide playing.
Yes Matt you are so correct why wasn't this mentioned? Why not last in the chain to compress the overall sound?
@@rockwriter9054 why dont you try it yourself, theres no wrong way to do anything if it sounds right
Or even for normal clean playing. You can hardly hear yourself playing with a band.
@@rockwriter9054 last in the chain is good if you set compression subtle, because, if you think about it, that is where you get natural tube compression from your amp, at the very end, however, with compression pedals they exaggerate the inherent noise of every pedal before them, so if you want more extreme compression and want to keep the noise floor low, they are best placed first in the chain after the guitar.
Once again my friend you made the unclear into crystal!!! I really liked the way you used recording software to show the effect of compression then pedals for real time application. Your shows just keep on getting better, already waiting for the next! Thanks!!!
Glad to help!
I really appreciate the kind words :)
Agreed, loving The content bro!
The Boss compressor sounds best to me. Great detailed video. Very helpful, thanks.
1) Why are compressors the sound of rock? Simple. All throughout the '50s, '60s, '70s, and well into the '80s, music was recorded on tape, which had dynamic limitations. It was played back to end-users on vinyl disc, which also had dynamic limitations. And we bought records based on hearing things on the radio. EVERY broadcast studio has limiters because FM, and especially AM (rock FM stations not really arriving throughout much of the world until the '70s), have serious dynamic constraints, such that heavy limiting was needed for broadcasts to have some reasonable hope for fidelity. Bottom line: everything about classic rock has been squished, re-squished, and squished again, and that's what "normal rock" sounds like to us. On top of that, nearly all distortion, that guitar players love so much, results from running up against headroom limitations, whether it be in a pedal or in the amplifier itself. So yet another reason why we think proper rock and roll sounds compressed, and needs to.
2) Compressors do NOT create sustain. They create the *illusion* of sustain by gradually raising the gain as the guitar signal dies away. If the compressor's gain-recovery and the guitar's inherent sustain co-operate, it will sound like it sustains longer. Volume will enhance sustain more than any compressor will.
3) Nearly every compressor will tend to dull your tone. Why? Most of the harmonic content (treble) in any picked note lives in the first 50msec or less of the guitar signal, or what I like to call the "note's lifespan". After that initial pick attack, the string dies down to become mostly note fundamental with a smidgen of harmonic content on top. Compressors will pull back the gain for the pick attack, and gradually raise the gain again *after* all that natural treble has disappeared from the landscape, making the "warmer" sound of the fundamental-only appear as the dominant timbre. This has nothing to do with the "quality" of compressor, or whether it uses photocells, FETs, transconductance amps, or whatnot. Many modern compressors will include a "blend" control that combines some of the uncompressed signal with compressed. The decay of the uncompressed signal will disappear quickly, but you get to keep the initial attack and its tone. The compressed version of the input signal won't have much of the attack tone, but it WILL have the long-lasting fundamental. So you get the best of both worlds from judicious use of the blend control.
4) One of the biggest distinctions between compressors is their gain-recovery time. That is how quickly they return to full gain after momentarily pulling back in response to the initial pick attack. One can usually only "hear" differences in gain recovery with big variations in picking speed. Historically, players holding notes on their Les Paul loved the MXR Dynacomp, while country players chicken pickin' on their Tele loved the Dan Armstrong Orange Squeezer. The stock version of the former had a long gain-recovery time, while the latter had a comparatively short one. Because slow gain recovery time gets in the way of hearing the pick attack of the *next* notes played after the first one, many pedal manufacturers who included a control to vary gain-recovery time labelled it "Attack", though it actually does not technically change attack. Fender's recent The Bends compressor took the righteous path and called the control what it is: Recovery. Most players will be hard-pressed to be able to hear small to medium changes in gain-recovery time, which is why I think EHX did the smart thing with the Soul Preacher and just used a 3-position toggle for fast-medium-slow.
5) One of the more useful applications of compression for a gigging musician is keeping the guitar level constant when trying to sing and play at the same time, or when playing rhythm behind a singer. It's all too easy to let one's enthusiasm get the better of you and slam out a distracting and disruptive peak. A compressor will assure that your live playing has the same qualities as a good master mix.
6) I have and have had easily 15 or more compressors of various kinds over the years, some of which I bought, and some of which I built, from simple 2-knobbers to rack-mount. I bought my first one in 1977 or so. Oddly enough, for whatever reason, it remains my favourite: the venerable Univox Uni-Comp. It is as simple an optical compressor as one could ever find. Bloody long gain-recovery time, and is as untransparent as compressors get. It is very much an "effect", and maybe that's why I love it every bit as much as Telecaster bridge pickups do.
Mark Hammer wait a minute! You’ve done some reading, haven’t you? Clever mate, you are...
Thanks for taking the time to actually teach us “your side of the story“. (I prefer the Keeley “four knob” for my style and for almost all my guitars. And I enjoy Joe Meek’s rackmount VC6Q… Mainly a vocal pre-amp, But it’s compression has a very nice effect on several of my guitars.) I only added the parenthetical so you would know a little slice of my life that might explain my choice. Cheers. And just like the chap that did the video, stay safe and stay healthy. And, most importantly, God bless.
Thanks Mr. Hammer I am building my first pedal board and I just picked up a really inexpensive compressor just to see if I could figure out how to use it. I know this is an old thread, but I just wanted to say thanks for the information.
@@Sailor_Man_Music You're most welcome. I hope the friendship between your picking hand and the pedal grows.
That was some lesson, thank you
This guy compresses
I didnt know what did compressor do, now I know thanks Darrell
Umm it compressed?
Ahh never really saw Compression the way others see it then. It's a really interesting guitar effect that makes the plucking, picking, and strumming more electrified for the purpose of the electric guitar! Awesome and interesting sounding indeed!
This is why this channel is the best...I knew the basics of compression and now I know far more (the bigger picture).
Hey mate, this is one of the best videos you have ever done. I am only a newbie with guitar still, but I often struggle with my solos sounding thick and present with the backing track. I appreciate the time you took to show post processing on Studio 1 and all the different compression pedals. Awesome work Darrell. Cheers from Australia.
Wampler Ego Compressor Pedal with Blend Control (nothing like this) except boss 1000
Nice to see pedals are back not that many pedals showed nowadays I have 4 compression pedals but I always go back to Boss CS3 keep up the good work well appreciated from the UK
Very nice change of pace with this one. Really nice seeing you interact amd talk through your thoughts on different pedals. This format would be great to do more of in the future. Thanks again.
There was once a time when people wanted dynamic range in their recording media and in their stereo amps. They listened to things like "Love Over Gold" and "Dark Side of the Moon". Quiet parts were quiet and loud parts were loud because that was the point.
Also, listeners would actually listen.
I miss those times!👍😎🎸🎶
Compression is good sometimes if you want take a quite part and put it under the spotlight for a few seconds but sadly people are using too much compression it's just like putting on too much makeup
@@TheDarkestPaladin exactly!👍😎🎸🎶
Yup. Too me it's the worst when bands use over-compression as "their sound", it messes with my ears too much.
Yeah.... Too busy multitasking now, working two jobs plus a side hustle. Still can't make rent next month.
The best explanation for compression and what it does and how it sounds. I loved the graphic visual representation of the guitar signal effects, which helped it all make sense to me. Very well done!
Fast attack = darrell
Slow attack = Darrell
The soul preacher has an internal volume trim pot. You can adjust it to make the volume control unity gain at 12 o’ clock. There is a video on RUclips about optimizing your soul preacher and it really makes the pedal better.
" Well done D!"
Great subject and presentation!
Didn't hurt using my fav Tele you own! Thanks for sharing brother, Be Well!
Compression is like Photoshop for you guitar
Compression and eq is like photoshop for your guitar. Eq is like levels or curves, and compression is like saturation. Nerd.
Then really all pedals is like photo shop cause they all beautify ur tone so to speak 🎉🎉🎉
Compression: exists
2000's: oh it's go time
*worst studio use of compression is discovered*
Thanks for explaining this. Especially showing it in a recording context. Most other videos about compression, though well-intended, usually end up being "it's for bring the highs down and the lows up" and then 10 minutes of turning knobs to see how it affects sound.
11:38 I remember when CDs came out touting greater dynamic range, and CD players in cars were a new thing. I thought: Yeah geat for a car, set the volume for the loudest bits and road noise will drown out the quiet bits, turn it up for the quiet bits and get deafened by the loud bits. Compression works for greater ambient background sound, but it sucks for lounge listening.
That being said, I did buy a compressor in the same purchase as my new MIM Tele, where it helps smooth out my inconsistent picking force :-)
I Made this point elsewhere.... We're too busy to really listen to music anymore.
The Wampler Ego Deluxe is a beast of a compressor. No matter how many times I change my board, that pedal never leaves.
Diamond Compressor from Canada = Incredible, transparent & super quiet. No pumping & breathing. Also liked the Alien and the Keeley Pro. Drybell Unit 67 is also nice. Great Demo & Explanation. One of the Best i've ever seen actually.
I love to know that you're a fellow Studio One user, Darrell 😁
That black Tele though...beautiful!
I use a Kongpressor and CS3 - The Kong is the best I have ever heard - so natural - great as a boost or always on pedal. The CS3 is a classic but can be a bit too much - I just use it just for solos.
ArtAlienTV you’re right about the CS3. I have it and hate it. No matter how you set it it sounds too compressed.
Wait..... No MXR Dynacomp on the compressor pedal board?? HERESY!!!
I have the Dynacomp and I have a love/hate relationship with it. I wish I had more control over attack, a blend knob would be nice, too.
@@brotendo Yeah, but then it wouldn't be a Dynacomp anymore. Its like the Fuzzface of compressors; I love mine but I find don't use it that often.
Swiss Army Knight Yeah I hardly use my Dynacomp anymore. I have some country gigs here and there sometimes and I'll put it on my board. But that's about it.
Yeah it’s either barely noticeable... or Under The Bridge
I've been using the same Dynacomp since 1977. I recently got the Ross mod done, it works even better.
amazing video thank youso much, i needed this...this was one of the best pedal videos ever (and i watch every That Pedal Show, Andertons and JHS vlog)...awesome job man.
perfect timing haha. I just ordered the Behringer CS400. Saw on a JHS vid that is was the same circuit as the Boss
I have one. Learned to dial it in- it's good!
This was an awesome demo that really put things in perspective for me. Thanks Darrell!
I love it when you talk a boat compressor pedals. 😂
note: the ehx soul preacher has a trim pot inside to adjust the volume which also adjusts the compression. looks like someone adjusted it down. because the stock soul preacher has much more volume than what you were getting in the demo.
Well done video, Darrell. I think compression is something of a mystery for some players, especially the younger folks just starting out... It might seem as though you're buying a pedal that doesn't do anything compared to a distortion or a chorus but as you've demonstrated it can be a critical component in the signal chain.
Darrell, great episode here and great timing! I'm using a Mooer Yellow Comp for my acoustic guitar signal chain. Affordable, and for what I needed it fit the bill nicely. On my Katana...still figuring it all out with the on-board compressor choices, but this lesson reigns it all in will definitely help in my tinkering. Thanks for producing and posting this video!
This vid made my head explode, too much info but I know we have some technicians in the house that can appreciate this.
I found a compressor for almost price of shipping. I am sure someone was told they have to have one and couldn't figure out what it did and just sold it online for next to nothing.
Darrell, Thank you so much for all of the content you create! I love watching your videos; keeping doing what you love!
Hi, I have read the article "The Loudness Wars" and I had the same impression of Mark Hammer first point: something missing. Don't get me wrong, useful article, but there are other aspects to consider. Compression was first used to reduce the dynamic mainly because radio broadcasting, tapes and vinyl had a limited dynamic capacity and were noisy. Using the compressors engineers discovered soon that every compressor had a different personality, (non-linearity, distortion, attack & release time, etc..). The sound was "shaped" by compressors, not just "compressed". Most used since their introduction: Urei 1176, Teletronics LA-2A, Fairchild 660/670, Distressor, dbx 160, SSL Master Bus Compressor, etc... They are still used in the digital era! They are reproduced in plug-ins. So, the compressors should be considered an "effect", not just a sustainer. I personally use on my guitar an optical compressor of an old Focusrite channel-strip: Platinum Tone Factory. It can be bought around 90 euro for sale online, and you have a nice discrete pre (kind of DI function) + an optical compressor + a parametric eq + a noise gate + gate key + send & receive... Yes! Everything for less than 100 euro. The equivalent of 5 pedals with studio quality in one rack channel. There are many old channel strip with great "personality", like Joemeek, for sale at a very interesting price. I would suggest you to try for less than one single boutique pedal. 😉
When I built my studio and started recording I had a dbx compressor,and it was single rack..it took me a week to record my CD then after that during mixing,it took me a whole year to mix the disc,when I started using compression,I had to learn what each button meant and how to use it..It was a learning experience..
Darrell - I'm a bilt surprised that you didn't use a couple of staples in your "shootout". I was expecting to see an MXR Dynacomp or ROSS compressor, since they are pretty much everywhere, and would have given folks an idea how these newer offerings stacked up against standards that have been around for decades. However, I do realize that you can't put everything on the board, otherwise, we'd be there for hours. Not a slight on the video at all, as it was your usual brilliant, thorough, informative review, which we've all become accustomed to. Cheers and keep the amazing videos coming. Probably my favourite channel of all!!
The MXR and the Ross are the same circuits (MXR cloned Ross IIRC) with slight variations in the values that don't amount for all that much. The Keeley and Wampler compressors are mods to that with components of better quality and some extra features but with the same basic sound.
Death, taxes, and compression!
Compression is the behind the scene effect that runs all modern day audio - for better or worse :)
The second half of the video features the 8 compressor pedal comparison and my recommendations. Enjoy!
Hey, good video! I'm a new follower. Which digital compressor did you use at the beginning of the video? Minute 4:00 more or less
Hi there was no final verdict on the Boss CS-3 yet you seemed enthused by it during the review?
@@LuchieJ I got an CS-3 on my board. It's fully modded with a Opto + and dual stack mods. I don't know what that means, but it's louder and quieter than the stock 1 I got. All that said it's been on my board for a yr and I'm not liking it's effect on my sound anymore. I got a 10 band EQ modded with silent mod so that clears up noise level. It's a nice boost, but I got 1 of those also. Actually 2 if you count my wah has a boost also. Guess this opens up a spot on my board in the future when I get something good.
I've usually placed my compressor after mod effects like chorus, reverb, etc. Maybe I'll try moving it to the front of the chain. I don't really like that squishy or poppy sound, but I use it if I've covering something famous that was highly compressed. I also hate what it does to my dynamics. I tend to use it more like a clean boost for some leads but its off most of the time.
Thanks for taking the time! Great job.
Black and gold Tele for the win! great info
The truth is, compressors in my case are tone savers, I have my Mooer Yellow Comp turned on all the time, and it makes everything sound better
Watched a few other demos on compression and really gained best insights from you. I have been miss using mine and will try your approach. Thank you!!
thak you sir Darrell! I learned new things today
The modern standards for mixing do work well when it comes to, as you said, music being played in a car, at restaurants and especially in places like bars and nightclubs. If you’re anywhere with background noise, the old method of mixing music would result in some parts being loud and clear but other parts being drowned out entirely.
I don’t blame people for wanting to go back to the golden age of dynamic range but it just isn’t very practical when virtually every person who will listen to the song will do so with at least a little bit of background noise. Very few people ever just sit and listen to an album these days.
I appreciate you mentioning that compression isn't used in classical music, which explains why I have to ride the volume control when listening in the car.
Darrell have to give you credit for adding the Behringer pedal as a favorite. So often with younger RUclipsrs ( Your the Hip I'm the The Hip less generation) only like the quote Boutique and expensive products. so big thumbs up on that. I have actually never heard the Behringer but it shows equality on your part.
It would be great to see a follow up with the Origin Effect Cali76, Diamond CPR-1 Compressor, Walrus Audio Deep Six, JHS Pulp 'n Peel and Empress Compressor along with the Orange Kongpressor,, Strymon OB.1 (now discontinued), Keeley Compressor Pro, and Analog Alien as best in class compressors.
Hello Darrell, it’s been a while since I have bothered you but it’s time again. Watching your RUclips movies have saved me money by putting me in the right direction before plopping down cash and getting the what have I done moments. So here is my question this time. What is the Best DAW and plugins for a complete beginner like myself. You make it look so easy and I understand that comes with experience. My computer knowledge is limited but I do not feel mashing buttons. The last time I recorded anything was a letter home from the jungle on a dictation machine. Before that we used two reel to reel 4 track machines. So now I’m ready to swim in the real world. I liked the color type setup you use but....... any help son? Thank you for your time and your fantastic movies. Please keep up your efforts they are greatly appreciated. God Bless. Most Sincerely, Pops Fitch
Post Script: I did purchase a new desktop computer with all the bells and whistles (no manual though “it’s online”..right) it’s got rams and taridips and the works the salesman told me and it’s not an apple whatsitthinggy.
Pedal recommendations requested: I’m looking for a pedal that is pretty much exactly like the MXR Studio Compressor (or Bass Compressor - same thing), but with midi, preferably running at under 100 mA, and not larger than a standard boss pedal. It’s OK if it is boutique; I’m willing to spend some money for the right unit. Thanks!
Man, I love your videos but this one was especially good! I listened with headphones to drown out the incessant drone of my annoying sister-in-law's voice (visiting us for Thanksgiving 😏) so that was an added bonus to a GREAT video. Thanks, Darrell! I think I'll buy an Alien from Sweetwater on Black Friday.
Thanks a ton, Darrell! Great explanation of what they do by using the computer controls. I love the sustain they bring and the chimes tone too.
This video was made to order ,since My first compressor should be here today . Nice timing Darrell :0)
Haven’t even watched yet, but I just wanted to say you have impeccable timing. I literally just got my very first compressor today!
Compression is a very confusing effect, it has so much to it, and yet it is very misunderstood. Even so, I have found that it really helps me a ton to get the sound I want.
I used the Boss CE3 for a while and I just never really bonded with it. I found it super noisy, which is a common complaint. I have used a few others as well. My favorite compression pedal is the Westminster Effects Calvin Compressor.
Compression is why it always sounds better in studio and sounds different live
Talent plays a bigger role than compression these days.
When playing at normal volume, my ears fatigue less quickly using compression, probably due to the lack of spikes in sound. That's a benefit I had't considered before.
I think recording/mixing compression and guitar fx pedal compression, while similar, are actually used for different reasons, and to different effect. Right?
Luey Sixty-six yeah, that’s why he mentions the pedal should come first. More explanations there would be nice!
@@RodrigoR9 There is much more that could be discussed or experimented with. For instance, mild comp after an OD lets you interact with the tone changes when hitting the OD harder by picking/strumming harder. Also, there is the whole chicken pickin "pop" that Darryl is apparently not a fan of. I noticed he placed the ones that helped achieve that sound lower on his list.
Yes and no. Nowadays there are compressors of every type in the form of pedals, employing the range of technologies used in "recording/mixing" compressors. I mean the Cali76! An 1176 you stomp on! It's madness we've entered!
So you now have access to all types of compressors right there at your feet. Truthfully, though, a lot of compressor pedals are like coloring with big fat crayons. They lack control over the basic functions of a standard compressor, leaving you with only broad strokes. But then there are the Keely and the Cali76, and many others, that give you the actual control over the compressor. So, there is something for everyone. Most guitarists I encounter are not very technical in nature, they just like more loud, so maybe the basic compressor pedal is more appropriate for them as the notion of threshold, attack and release makes blood drip from their noses from all the mental work of thinking about such esoteric things (they're not really, just in case you're missing my sarcasm).
I tested all compressor pedals available. The Boss 3rd gen. Compresor pedal is the least noisy of all. Been using a Boss comp pedal for ever. It is the only pedal i always use for soaring sustained lead solos.
I'm glad that instead of comparing the pedals like I was looking for, you explained the basics of compression using software compressors, and tried to teach me how to use one, and played guitar for less than ten minutes in this thirty minute video.
I understand the point of compression nowadays (as Darrell said in the video, everyone listens to music in the car, in the gym, walking around, and you want to hear everything, not "kinda hear" the quiet parts). That's why I always listen with my headphones at top volume, because I'm used to listen to songs with a lot of dynamic range, and I need that boost. But then the loud parts come in and, well, how do I stop my ears from bleeding?
Awesome video! I really enjoy this kind of format. Keep up the good work, Darrell!
Man that tele looks so clean
Great explanations! I have a soul preacher and it is definitely not that quiet, there's a trim pot inside the pedal (top right when you take the back off) that sets the input gain and it was probably set way too low from the factory or by whoever owned the pedal before you. a few small adjustments with a screwdriver to the pot and it will totally transform that pedal!
Agree, the soul preacher wasn't shown off fully to its capabilities and was wrongly criticised. I've had it for years and just recently upgrade to the wampler ego but I'm keeping the soul preacher for light compression for my acoustic guitar.
I clicked through to your favorite guitars, and was amused when I saw the ratios: 6 Teles, 3 doublecuts, and 1 singlecut. =D
At least you're not confusing it with non-existant RUclips 'compression' LOL! Good stuff Daz!
Not sure if you are confusing 'dynamic' compression (as offered by these pedals) and the 'data' compression used by YouTuve to reduce data rates. Very different things.
@@dwftube LOL! EXACTLY!
Why do you say RUclips compression is non-existent? It greatly effects audio quality by reducing bandwidth.
@@rangerdoc1029 LOL!
@@rangerdoc1029 Because this video is talking about dynamic compressors and RUclips uses data compression which is something very different.
Thanks man. You are one of the best out there!
Great video find. Thanks Darryl
You so often seem to make exactly the video I've been wanting to watch on exactly the topic I've been wanting to learn about, haha xD
Great video! I had no idea how functional compression is...really informative.
Wicked comparison between the pedals and you made it very easy to understand what's going on. I've been using the compressor on the Katana 50 amp, but I think I may have to buy a pedal now..
Any time I look for a compressor, I don’t look for the one I “like”… rather more that I “dislike least”.
I have the soul preacher and never had a problem with the volume. Can be adjusted by unscrewing the back
You have good timing! I've been thinking, for the last week or so, about adding a compressor to my board. Thanks for explaining how this works!👍😎🎸🎶
The loudness wars, the sausage makers. This was helpful for me, I struggle with compression and how much to use and when. Then there's multiband comps, it's too much!
Well, I think you need to choose how much compression you want, and what type of compression you want. It is an aesthetic choice, just like overdrive/distortion or delay with all its various types. Remember, the first victim of war is truth, this certainly applies to the loudness war. Don't fall victim to the notion that you need huge amounts of dynamic range to be valid, or conversely, that you need to brick out every sound you make. You really have to understand compression, the sound of it, and make informed choices (just like with everything else in making music!) I've had people (literally) yell at me because there was too much dynamic range in a piece, and a different group of people yelling at me for not enough dynamic range in the same piece. Why all the yelling? If it is my piece, and I'm responsible for it, it's my choice, I choose how much dynamic range there is. Other people get to choose if they like it or not. I'll also say that sound systems respond differently to dynamics. Some systems like a smaller dynamic range, others need the dynamics to really sound good, this is more of a technical issue rather than aesthetic, but you know, this thought is parsley- often thought as merely garnish, but actually quite nutritious.
I know what you mean, though, like one more thing to worry about, or ponder endlessly... but it just seems like that at the beginning, like everything else, things seem bigger and unknowable when we first encounter them, but then when we've had some experience with them, they start shrinking, become manageable, and then maybe even seem trivial. It's maturity mate!
*you can do it!*
I have the Behringer for a set-and-forget fuller sound on the 12-string and the archtop. Like the man said, it's a good place to start.
That Tele is stunning!
I think the worse use of compression is in movie tracks. Went to see a movie recently. It seemed like the background music was the same volume as the actor's voices! Isn't background music supposed to be just that, in the background, not the same level as the voices? The whole movie sound track seemed extremely too loud! Don't misunderstand me, I love loud music, but I also like to hear what the actors are saying. I miss the old days before this effect was overused.👍😎🎸🎶
Great video! I learned a lot, and I’ve watched tons of videos on compressors!
Nice demo, Darryl. Lots of choices to think about.
Why does the optical compressors present on that shoot out? Aren't they different to the Boss and Keeley Pro?
Excellent video, man. 👍
I have a hard time with hearing it and I admit I avoided but this is a great job and helped me understand it better. Thanks very much!
One question ...when you actually played the guitar first it sounded good already but when you went to the editing screen how did it get low volume ?
I use two compressors. The second one is used to make sure I can play softly and still be heard on stage.
man this is really helpful. thank you very much. keep on rocking. love ya :D
Hi darrel would you please Think of doing comparing some guitar stands
(Sorry for my bad english if there is any) and by the Way i didnt know what a compressor did until now so Thanks darrel
I use two.. one set light and one heavy... almost a must for cover guys that play many different genres at a gig
No origin effects. So good!
Hmm interesting..thanks Darryl..
Very informative, as usual. If you put a Monte Allums kit in the Boss, all that hum will go away and it has more fidelity too. I did it and was amazed. I did 3 other types of pedals with his kits and got big improvements every time. I do think the strymon sounded best though.
I'm into soulful guitar solos with lots of sustain. (Marillion, Santana and heavier stuff). Buying a guitar with a sustainiac pickup, like a Schecter makes no sense as I don't earn from music. So I found you can improve sustain with compressor pedals. But I've discovered that makes my playing very noisy and then I reduce the gain, and raise the noise gate and get a nasty tone out. Also I use headphones and everything is extra noisy. In the end I don't think compressors are for me but this video cleared things up. Thank you
I don't use my Boss CS3 compressor sustainor at all. I tried hard to find a tone I like, but I prefer natural sound, while I'm just a bedroom player so no need for clipping squishing. Reverb I prefer from sustain. Thanks for explanations 👍
I have come to the same conclusion in the same situation (living room player, though - not quite the same).
Heavy compression evens out sloppy playing or unbalanced strings and robs dynamics while subtle settings help solve problems I do not have. There should be a middle ground to find somewhere, though. Maybe I'll try again.
Hey Darrell, I'd LOVE to see you do a video or simply give your view on top winding strings over a tail piece on LP type guitars...
I'd love to see more videos showing how to mix guitar in a DAW. Your explanations are easy to follow. It would be something to change up the format a little.
People want entertainment mostly whilst doing other 'important" things in their lives. Listening to music to really enjoy it used to be the norm., which is why I still have a collection of vinyl records. The only compression I miss is from my hot rodding days when the heads were 12.5:1 running on Sunoco 260 with 106 octane in a Mustang Boss 302.
The best compressor pedal I know is Maxon CP-9 Pro+. But It’s so hard to find one. Great for guitar and bass.
You really should take the cover off and adjust the trim pot and have another look at the soul preacher. It's been an awesome pedal for me
What an awesome informative video. Thanks.