Difference between revisions of "Compressor tips"
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Try putting the compressor as the the first block in the chain. Compression works better on clean tones than high-gain tones. The following settings are some very basic starting points to achieve some specific sounds. | Try putting the compressor as the the first block in the chain. Compression works better on clean tones than high-gain tones. The following settings are some very basic starting points to achieve some specific sounds. | ||
| − | + | =====Axe-Fx scale===== | |
| − | ====Axe-Fx scale==== | ||
The Axe-fx use from 1-10 rather than ms for the attack and release settings. They are scaled in an inverse log relationship to 1 to 1000ms. This was confusing at first because a setting of 10 indicates a faster attack rate which means 1 millisecond. Same thing with release - just remember they are rates and not times. Faster rates mean lower values. | The Axe-fx use from 1-10 rather than ms for the attack and release settings. They are scaled in an inverse log relationship to 1 to 1000ms. This was confusing at first because a setting of 10 indicates a faster attack rate which means 1 millisecond. Same thing with release - just remember they are rates and not times. Faster rates mean lower values. | ||
| Line 44: | Line 43: | ||
10.0 : 1ms | 10.0 : 1ms | ||
| + | =====Note===== | ||
| + | The compressor will cause some distortion if the release rate is set too high along with a high attack rate. The compressor has been optimized for attack speed as this is what guitar players like. If you set the release rate too high, though, you can get distortion. The proper way to set the release rate is to observe the natural decay of your instrument and set the release rate just slightly faster than that. For the typical electric guitar this is around 3.0. | ||
| − | ====Compressor settings==== | + | =====Compressor settings===== |
| − | =====Ringy===== | + | ======Ringy====== |
* THRSH: -17.8dB | * THRSH: -17.8dB | ||
* RATIO: 10:1 | * RATIO: 10:1 | ||
| Line 53: | Line 54: | ||
This setting is heavily compressed, making chords and single notes thick and even, and sustain like, forever. The medium attack allows the guitar strings to ring, and the long release holds on to produce a massive, Neil Young-like sustain. | This setting is heavily compressed, making chords and single notes thick and even, and sustain like, forever. The medium attack allows the guitar strings to ring, and the long release holds on to produce a massive, Neil Young-like sustain. | ||
| − | =====Chunky===== | + | ======Chunky====== |
* THRSH: -15.5dB | * THRSH: -15.5dB | ||
* RATIO: 5.1 | * RATIO: 5.1 | ||
| Line 60: | Line 61: | ||
This is the fat, ballsy sound that drives many of the guitar-heavy bands of the late ’70s and early ’80s. It’s mildly compressed with a fast attack and a medium release, which allows all the strings - from low to high - to sound evenly for a massive punch. Think "Barracuda" by Heart. | This is the fat, ballsy sound that drives many of the guitar-heavy bands of the late ’70s and early ’80s. It’s mildly compressed with a fast attack and a medium release, which allows all the strings - from low to high - to sound evenly for a massive punch. Think "Barracuda" by Heart. | ||
| − | =====Chicken Pickin’===== | + | ======Chicken Pickin’====== |
* THRSH: -31.4dB | * THRSH: -31.4dB | ||
* RATIO: 6:1 | * RATIO: 6:1 | ||
| Line 67: | Line 68: | ||
Play this sucker on a Telecaster and ride it all the way to Nashville. The fast attack nails the initial string impact, and the fast release lets it go pronto to minimize sustain. The result is a clean, snappy pluck that works great for those blazing cowboy cascades. | Play this sucker on a Telecaster and ride it all the way to Nashville. The fast attack nails the initial string impact, and the fast release lets it go pronto to minimize sustain. The result is a clean, snappy pluck that works great for those blazing cowboy cascades. | ||
| − | =====Smooth===== | + | ======Smooth====== |
* THRSH: -27.5dB | * THRSH: -27.5dB | ||
* RATIO: 10:1 | * RATIO: 10:1 | ||
| Line 74: | Line 75: | ||
This setting is squashed pretty hard with a high threshold that pretty much grabs the entire signal to produce a sound with no sharp edges. The resultant velvety texture is wonderful for smooth jazz tracks and other sophisticated guitar tones. | This setting is squashed pretty hard with a high threshold that pretty much grabs the entire signal to produce a sound with no sharp edges. The resultant velvety texture is wonderful for smooth jazz tracks and other sophisticated guitar tones. | ||
| − | =====Dramatic===== | + | ======Dramatic====== |
* THRSH: -30dB | * THRSH: -30dB | ||
* RATIO: 7:1 | * RATIO: 7:1 | ||
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Clean notes that float in languid, ethereal sustain - think Ry Cooder’s brilliantly sparse lines on the Thelma & Louise soundtrack - are provided here. The slow attack allows the note attack to retain punch and impact, and the long release keeps the sound ringing. This expansive and evocative setting works great for slide parts, as well. | Clean notes that float in languid, ethereal sustain - think Ry Cooder’s brilliantly sparse lines on the Thelma & Louise soundtrack - are provided here. The slow attack allows the note attack to retain punch and impact, and the long release keeps the sound ringing. This expansive and evocative setting works great for slide parts, as well. | ||
| − | =====Funky===== | + | ======Funky====== |
* THRSH: -21.6dB | * THRSH: -21.6dB | ||
* RATIO: 7:1 | * RATIO: 7:1 | ||
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''Adapted from Guitar Player magazine (Aug 2006)'' | ''Adapted from Guitar Player magazine (Aug 2006)'' | ||
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Latest revision as of 18:05, 3 January 2010
Try putting the compressor as the the first block in the chain. Compression works better on clean tones than high-gain tones. The following settings are some very basic starting points to achieve some specific sounds.
Contents
Axe-Fx scale
The Axe-fx use from 1-10 rather than ms for the attack and release settings. They are scaled in an inverse log relationship to 1 to 1000ms. This was confusing at first because a setting of 10 indicates a faster attack rate which means 1 millisecond. Same thing with release - just remember they are rates and not times. Faster rates mean lower values.
Axe-Fx Setting : Actual Time (attack or release)
1 : 1000ms
2 : 954ms
3 : 903ms
5 : 778ms
7 : 602ms
8 : 477ms
I tend to stay the 9.X range for most things:
9.0 : 301ms
9.2 : 255ms
9.5 : 176ms
9.7 : 114ms
9.9 : 41ms
9.92 : 33ms
9.95 : 21ms
9.97 : 13ms
9.98 : 9ms
9.99 : 4ms
10.0 : 1ms
Note
The compressor will cause some distortion if the release rate is set too high along with a high attack rate. The compressor has been optimized for attack speed as this is what guitar players like. If you set the release rate too high, though, you can get distortion. The proper way to set the release rate is to observe the natural decay of your instrument and set the release rate just slightly faster than that. For the typical electric guitar this is around 3.0.
Compressor settings
Ringy
- THRSH: -17.8dB
- RATIO: 10:1
- ATT: 150ms
- REL: 987ms
This setting is heavily compressed, making chords and single notes thick and even, and sustain like, forever. The medium attack allows the guitar strings to ring, and the long release holds on to produce a massive, Neil Young-like sustain.
Chunky
- THRSH: -15.5dB
- RATIO: 5.1
- ATT: 11ms
- REL: 102ms
This is the fat, ballsy sound that drives many of the guitar-heavy bands of the late ’70s and early ’80s. It’s mildly compressed with a fast attack and a medium release, which allows all the strings - from low to high - to sound evenly for a massive punch. Think "Barracuda" by Heart.
Chicken Pickin’
- THRSH: -31.4dB
- RATIO: 6:1
- ATT: 1ms
- REL: 25ms
Play this sucker on a Telecaster and ride it all the way to Nashville. The fast attack nails the initial string impact, and the fast release lets it go pronto to minimize sustain. The result is a clean, snappy pluck that works great for those blazing cowboy cascades.
Smooth
- THRSH: -27.5dB
- RATIO: 10:1
- ATT: 50ms
- REL: 38ms
This setting is squashed pretty hard with a high threshold that pretty much grabs the entire signal to produce a sound with no sharp edges. The resultant velvety texture is wonderful for smooth jazz tracks and other sophisticated guitar tones.
Dramatic
- THRSH: -30dB
- RATIO: 7:1
- ATT: 250ms
- REL: 250ms
Clean notes that float in languid, ethereal sustain - think Ry Cooder’s brilliantly sparse lines on the Thelma & Louise soundtrack - are provided here. The slow attack allows the note attack to retain punch and impact, and the long release keeps the sound ringing. This expansive and evocative setting works great for slide parts, as well.
Funky
- THRSH: -21.6dB
- RATIO: 7:1
- ATT: 61ms
- REL: 84ms
To accentuate those funky, biting pick attacks - as heard on classic Sly Stone and Earth, Wind & Fire tracks - this medium attack and fast release does the trick.
Adapted from Guitar Player magazine (Aug 2006)
