Difference between revisions of "Compressor tips"
m (→Axe-Fx scale: "attach and release settings" > "attack and release settings") |
(Edited levels/format (for Comp block) and included Dyna Comp) |
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| − | ===General tips=== | + | ====General tips==== |
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. | ||
| − | ===Compressor settings=== | + | ====Compressor settings==== |
| − | ====Ringy==== | + | =====Ringy===== |
| − | + | * THRSH: -17.8dB | |
| − | THRSH: -17.8dB | + | * RATIO: 10:1 |
| − | + | * ATT: 150ms | |
| − | RATIO: 10:1 | + | * REL: 987ms |
| − | |||
| − | 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. | 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 |
| − | + | * ATT: 11ms | |
| − | RATIO: 5.1 | + | * REL: 102ms |
| − | |||
| − | 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. | 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 |
| − | + | * ATT: 1ms | |
| − | RATIO: 6:1 | + | * REL: 25ms |
| − | |||
| − | 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. | 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 |
| − | + | * ATT: 50ms | |
| − | RATIO: 10:1 | + | * REL: 38ms |
| − | |||
| − | 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. | 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 |
| − | + | * ATT: 250ms | |
| − | RATIO: 7:1 | + | * REL: 250ms |
| − | |||
| − | 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. | 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 |
| − | + | * ATT: 61ms | |
| − | RATIO: 7:1 | + | * REL: 84ms |
| − | |||
| − | 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. | 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)'' | |
| − | '' | ||
| − | ===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 121: | Line 90: | ||
10.0 : 1ms | 10.0 : 1ms | ||
| − | ===Emulating various well-known compressors=== | + | ====Emulating various well-known compressors==== |
| + | =====Dyna comp emulation===== | ||
| + | {{:Dyna Comp emulation}} | ||
| − | ====Teletronix LA-2A settings==== | + | =====Teletronix LA-2A settings===== |
* tube-based electro-optical attenuator | * tube-based electro-optical attenuator | ||
* Comp = soft knee, semi-fixed 4:1 ratio | * Comp = soft knee, semi-fixed 4:1 ratio | ||
| Line 130: | Line 101: | ||
* RELEASE TIME: 0.06 seconds for 50% release; 0.5-5 seconds for complete release | * RELEASE TIME: 0.06 seconds for 50% release; 0.5-5 seconds for complete release | ||
| − | ====Universal Audio 1176LN specifications==== | + | =====Universal Audio 1176LN specifications===== |
* FET-based attenuator | * FET-based attenuator | ||
* Attack Time: 20 microseconds to 800 microseconds | * Attack Time: 20 microseconds to 800 microseconds | ||
| Line 137: | Line 108: | ||
* All-button mode or "British mode": For those that don't know, back in the glory days of gonzo recording, an adventurous engineer wanted to know what would happen if you pressed all four compression ratio buttons in at the same time. It was discovered that with all four buttons pressed in, the 1176 made drums jump out of the speakers, and became a much used staple of hard rock drum recording. | * All-button mode or "British mode": For those that don't know, back in the glory days of gonzo recording, an adventurous engineer wanted to know what would happen if you pressed all four compression ratio buttons in at the same time. It was discovered that with all four buttons pressed in, the 1176 made drums jump out of the speakers, and became a much used staple of hard rock drum recording. | ||
| − | ====Teletronix LA-3A specifications==== | + | =====Teletronix LA-3A specifications===== |
* electro-optical attenuator | * electro-optical attenuator | ||
* Attack: 1.5ms or less | * Attack: 1.5ms or less | ||
* Release: 0.06s for 50% release | * Release: 0.06s for 50% release | ||
Revision as of 04:39, 24 August 2008
Contents
General tips
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.
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)
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
Emulating various well-known compressors
Dyna comp emulation
The MXR Dyna Comp is a classic guitar compressor pedal. From web research, its features were listed as follows:
- Limiting Threshold Adjustable from 4-80 mV
- Compression Adjustable from 15-40 dB
- Attack Time 4mS at center ATTACK setting
- Decay Time 1.2 Sec
To replicate this on the Axe-Fx, use these settings:
- ATT - 9.9 (very fast)
- REL - 1.0 (very slow)
- COMP - 10
- THRSH - -55
By one report, it "sounds more like a Keeley."
Teletronix LA-2A settings
- tube-based electro-optical attenuator
- Comp = soft knee, semi-fixed 4:1 ratio
- Limiting = infinity ratio
- ATTACK TIME: @ 10 microseconds
- RELEASE TIME: 0.06 seconds for 50% release; 0.5-5 seconds for complete release
Universal Audio 1176LN specifications
- FET-based attenuator
- Attack Time: 20 microseconds to 800 microseconds
- Release Time: 50 milliseconds to 1.1 seconds
- Ratios: 4,8,12,20,All
- All-button mode or "British mode": For those that don't know, back in the glory days of gonzo recording, an adventurous engineer wanted to know what would happen if you pressed all four compression ratio buttons in at the same time. It was discovered that with all four buttons pressed in, the 1176 made drums jump out of the speakers, and became a much used staple of hard rock drum recording.
Teletronix LA-3A specifications
- electro-optical attenuator
- Attack: 1.5ms or less
- Release: 0.06s for 50% release
