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1) What gets labelled as "Attack" on a great many compressor pedals is generally not an attack adjustment, per se, but rather a recovery-time adjustment. That is, it does not alter how quickly compression kicks in, but rather how quickly it shuts off. When the time it takes for the gain to be restored is *longer* , after pulling it down in response to picking, one tends to miss the bright pick attack of the next note picked. Shortening the recovery time makes the pick attack of subsequent notes easier to hear, which is why it tended to be labelled as "Attack". Here's the thing, though: if you pick quickly, you can easily hear what changes to "Attack" time do. But if you pick slowly, you'll be twiddling the knob wondering if it does anything at all. The effect of that control depends on your "inter-strum interval":, so bear that in mind. As an aside, folks who study and dissect compressors will describe what gets called "breathing". If recovery time is slow, one can hear the gradual increase in hiss as the gain increases and is applied to whatever noise is in the input signal. It tends to sound like someone taking a long inhale - hence "breathing". It is MOST obvious (and annoying) if the compressor is preceded by a high-gain device. 2) I find one of the best and most helpful uses of a compressor is to maintain volume level when you're strumming and singing at the same time, or simply backing up a singer. Paying attention to what you're playing, and how loud you're playing it, can sometimes require more concentration than you have available. Compressors let you focus on one thing and not have to worry or think too hard about the other. You can flail away and not have to worry about accidentally drowning out anyone, including yourself. 3) RE: Noise. Compression serves not only to pull back on gain of peaks, but also apply gain to quieter signals. I can't think of a single analog compressor under a few thousand dollars, and able to fit on a pedalboard, that can tell the difference between a vibrating string slowly decaying, and incoming hiss/noise/hum. As far as the compressor is concerned, that soft signal (i.e., noise) is in *desperate* need of help, so it boosts it. *ALWAYS* make sure that no matter where you stick a compressor in your signal path, you feed it the quietest most noise-free signal you can. 4) RE: Before vs after. Yes, compression ahead of a dirt pedal *will* produce a more consistent dirt-tone since the compression is maintaining the signal at a constant level, relative to the clipping threshold. BUT, all dirt pedals *will* reduce the dynamics of the signal at least a little bit. So feeding a dirt pedal to a compressor will monkey with what the compressor is able to detect. Any before-vs-after comparison will depend on how much you squish with the compressor, how much distortion/clipping one aims for with the dirt pedal, and how hot the output signal is from either the compressor or dirt pedal. That said, as noted earlier, if you feed a compressor with a cranked dirt pedal, the dirt pedal's noise is going to introduce *heavy* "breathing" during your non-strumming moments, so be careful. That doesn't mean you *shouldn't* stick compression after dirt. You just need to manage noise levels sensibly.
@@wampler_pedals Thanks, Brian. I'm just glad you didn't say "That's gold, Jerry! GOLD!", like Steve Banya. One of these days, someone, whether yourself, Andy Martin, Rhett Shul, or Josh Scott, is going to have to post a top-ten-most-misunderstood pedals video. Compression is certainly in there, as are noise gates, "exciters", some 4-knob modulation pedals, some octave-up and octave-down units, and many others. Not everything is as straightforward to beginning electric guitarists as a 3-knob fuzz.
@@giantessmaria Thanks. Brian always starts the ball rolling in the right direction. Makes it easy to fill in the gaps, and saves him the trouble of making hour-long videos! Personally, I don't think many understand or appreciate that compression IS the sound of rock. Keep in mind that, traditionally/historically, limiting and compression were needed to avoid saturating the tape that music was being recorded to, to permit fitting more music on a vinyl side, and to allow broadcast transmitters to send out as undistorted a signal as possible to listeners. At every step along the way, some degree of dynamics-reduction was being imposed on rock, making compression the "normative" sound of rock - what we hear and *like* about the music we like. Later digital technology allowed for much greater dynamics, without sacrificing sound quality, but we still associate a degree of "sponginess" with how rock guitar is *supposed* to sound. Why else do you think Tube Screamers and tube amps are as popular and standard as they are? They just sound "right" to our ears, partly *because* of the way they tinker with dynamics. So optimal use of compressor pedals is, to my mind, an important part of being a skillful rock guitar player (as is how to identify when appropriate compression is being achieved by other means).
I really like to keep a compressor on all the time, really subtle, to round off the edges of the sound. Also it gives a very nice percussive pop to the tone, and just helps all around with the consistency of the sound.
Same here. I think keeping one on all the time is a really good idea . Most recorded albums have a lot of compression added either pre or post production so players need to keep that in mind. A lot of records where I heard acoustic guitar really popping and sounding bright and full of sustain was very hard to match and for years I didn’t realize compression was added to that sound to make the finger picking or strumming pop out much more than it would without any compression. So, if they use them on almost every album made, it’s probably important yo keep it on a pedal board to get a more polished sound. A clean blend is great but even without one it’s not hard to adjust it to taste. One thing I always notice is they tend to boost the level a lot and that’s the first thing you’ll hear when turning the pedal on from off. I think compression is key and I wish I knew about it 15 years ago as far as pedals go.
@@jordandangelo180 you’re right. It’s a tool, and an important one. Knowing when and where, and how to apply it is key. You mentioned the level and that’s one of the things I like about keeping one on: the thinner strings sound fuller, closer to the thicker ones, making the sound more balanced. I don’t get to play super loud, or own a cool tube amp, so natural compression is not achievable for me. I get around using effects pedals and it just makes it fun for me. At the end of the day it helps me get a sound and feel I like, and I enjoy playing because of it.
Likewise.. I set mine at a point where you don't notice it's on.. but do notice when you turn it off. It's just enough to improve string & picking balance slightly, without affecting intentional dynamics
Angus uses a wireless that compresses his signal slightly . I agree I like em , depends on what I'm playing . If I'm going for allot of dynamics ? I leave it off .off course now , I honestly forgot about this , that blend knob ... I'll be messing with that later .
Born in another millennium and die hard analog player, the only reason I’m here is to watch & learn from people who really know their stuff 😘great job sir🥂
A compressor set below unity gain and placed before a crunchy amp-style overdrive pedal can give you a sound of that amp-like pedal that's clean but still "louder" than the clean you'd get by turning the guitar volume knob down. So, say, a Vox-like overdrive can turn into a nice clean Vox tone by using a compressor as an "underdrive" pedal in front.
Great lesson, Mr. Wampler. I discovered this year (when started to use analogic pedals) that a compressor can save our sound (adding volume mainly) when we want use the splitted humbuckers. It's a must have/know pedal.
I love this channel. 🍀tell you what; between you and Josh, you've given me a greater confidence in my own ears and opinions. I've taken quite a lot of crap over the years from my purist friends; yet, brilliantly, you guys back up my own takes, as well as enrich them. Few among TH-cam channels actually GIVE my playing something. Blessings and best regards from the UK 🍀
A blend knob on a pedal compressor is absolutely brilliant. I have mostly limited experience with pedal compressors other than a Dyna Comp. I'm definitely going to have to go test drive an Ego though ASAP! Thanks!
Subtle compression is a great always-on effect to tame single coils. You keep the snap with less harshness and the sustain sounds fuller. Fairly fast attack, moderate ratio and slow release.
3 years later and I have my first compression pedal in the Ego76. Incredibly helpful video. I was going the wrong way with my attack to reduce the compressor 'clicks' as it clamps the signal. It's also just a fantastic pedal that let's me pick with some energy into my amp that has headroom to spare :)
I use an orange squeeze style compressor/boost in my effects loop last in the chain. It really does more than an EQ pedal can, basically acts like a psuedo attenuation by boosting the signal and allowing me to turn down my amp's volume to more appropriate levels without losing clarity.
Here's the thing people: The big shiny button on the top is more than a "take a break" button. If you are playing your rhythm parts with the compressor and you get to a part you need uncompressed tone, simply step on it and you have all your dynamics and uncompressed sound you can handle. When you're done with your solo or flashy part, simply turn it back on, step back like Malcolm Young would do and continue the song. I know that's extra work, but for the love of Pete it's not that bad. Case in point: I watched Eddie showing us his new 5150 IIIs and he was playing the opening riff of Unchained. He would step on the phaser when he wanted that sound, then turn it off for a few seconds, turn it back on , then off....he was actually USING the effect like an instrument by itself. In the first 8 bars he must have turned it off and on half a dozen times. You can do the same thing. On when you want compression, off when you don't. I know that sounds overly simple and it is, but the complaining by some about a great piece of gear is dumbfounding.
so, use the compressor as a volume control during the rhythm parts so the audience can hear the rest of the band over you and then take it off when you solo? BRILLIANT! Kind of like use compression in mixing. Squash down the stuff that's less important so the singer or whomever can shine through.
@@Ottophil Dude I was probably high af when I wrote that. At the time is seemed like a good topic to delve into. Now, I don't know what the fuck I was talking about. There's a lesson to all of you. Don't comment while high.
The keeley 4 knobs are hit and miss....i had an older 4 knob that i couldnt play without....i bought another one a few years later and it sounded and reacted totally different....and the 2nd one also had a very noticable volume drop....almost hard to play WITH it now. Same exact pedals from the same era yet totally different sounding with the same guitar and rig. Saving up now for an analogman bicomprosser....probably something i should have just bought from the get go.
@MITCHYMITCH555 Hi . I realize that your Comment is 2 years old but maybe you'll see this . Last year I bought the 4 Knob Compressor . But it's the Model with 2 Controls inside the Pedal . I'm not impressed with this Pedal in the least . So as soon as I decide which one , I'm going to order one of the Wampler Compressors . Do you guys have any solid advice for me ? I hope you're all doing well and staying safe . 🎸
Personally I love my Full size wampler ego comp. I have the mini but you lose 2 of the knobs which I do like using. The Cory Wong sig was fun to play with at a store but I haven’t owned it.
@@MITCHYMITCH555 Thanks Mitch . I appreciate your response and advice . That is one of the Comps I am looking at . Ya' know , Keeley has a big name and rep in the Gear world so I can't figure out why this Comp Pedal I bought sucks so much . I've gone through every Video on TH-cam trying to get tips and tricks to make it sounds better but I guess it's just crap . I'm quite sure I'm going to get the one you suggested . Again , thank you . I hope you're doing well . 🎸
I have the Ego and it’s a great pedal. I still like the sound of a telecaster as untouched as possible. Once you plug a good tele into a good fender 59 bassman and you find the amp’s sweet spot, what else do you need? It’s a different story if you play ampless
i introduced compression to a mate who plays acoustic guitar. he was so blown away how a subtle compression of his guitar made it feel more controlled and easier to just play and sing at the same time. It's my favorite effect especially on clean guitar. blend knobs make it easy to add as much subtilty as desired, very console oriented used by audio engineers, especially live performance.
I got myself a Wampler Ego specifically to use with acoustic live (mainly solo). Still getting my head around it, any tips or pointers to acoustic specific guides would be appreciated!
@@notmyname3681 sorry, just saw message. hopefully you came to the realization that used subtly is best. mix a little compression wet/dry knob, to lift the low notes up a touch but retain natural sound. too much can squish everything you play and kill dynamics. also can give a pumping sound to notes. or try slow attack, fast release.
Great examples, Brian! I have a Diamond and a Mooer Yellow Comp; the Mooer stays on the board before my drives because of the real estate it affords me. The compressor is honestly my tonal secret weapon; always on. Cheers!
I leave mine on all the time but only for this new band I’m in. I’m backing up an acoustic player and I have to set my big 100 watt amp ,with two tubes removed and in lower mode, extremely low. Safe to say there is always a lot of headroom and even set low I have to play fairly soft. So in my case the compressor allows me to play better as I can express a little more without becoming too loud. The sustain also helps a lot with the slow long notes I’m playing.
Nice work. I couldn't get a decent tone from my amp until I put a compressor in front. And I added another one after overdrive and filter pedals, and this improves the tone even more. Game changer. 👍
My first pedal ever was a boss compressor/sustainer, I had asked the guy at the guitar store what should I get first and that’s what I walked out the door with. I don’t remember what was next but it seems to me it was another boss, CS-1 or 2 chorus pedal. I eventually found overdrive pedals and wah pedals, flangers and pitch shifters, octive and delay pedals. I have huge pedal boards and medium PBs and smaller PBs too. None of them have a compressor on board at this point but that’s going to change asap. Thanks for reminding me about the order of things and how compression makes our lives easier for a reason. Hats off to you sir…
Holy crap did the tone at 6:29 sound like a Clavinet to anybody else, or is that just me? Oh and by the way this was a great video. Super well edited and really well spoken.
I always enjoy recording through my fuzz pedals. The heavy distortion effectively compresses the signal naturally. Which is why people who play clean probably like comps more than people who play really dirty.
My favorite way of using a compressor pedal is going into a crunch drive setting on my tube amp. By adjusting it just right you can go from just soft clipping the attack of the notes to soft clipping more of the sustained notes as well. Sort of an edge to the whole tone instead of just the harder attacked notes. This was done a lot in recordings in the late 80s and 90s. It’s a great way to add a little edge to the guitar without it being fully into distortion.
Many 80's metal guys not shredders did that a Crunchy Marshall dirtier than Malcolm Young but less than EVH , but set compressor ratio up a bit and have a slightly louder Out Put level, to give boost a bit more gain volume to the amp and clip the amp that little bit more. Saw dozens play that way.
About 2 years ago I hit on the combination of: drives -> noise gate -> compressor -> delays -> reverb. Compressor stays on all the time. Since I hit on this order I have not had to change it.
I add in a drive after the comp (both set a bit more subtle than you would without the other) and 2 types of delays (analog with mod on 1/4, digital dotted eighth after) and I’m right there with you
Such a great video, Brian! Been a huge fan since the early podcast days with Travis. You seem to be one of the only people on TH-cam that's able to explain and demonstrate these types of concepts and practices in such a way that most people can really understand. I love your videos and always have! Bravo!
Thank you, Mr. Wampler, for this video. For years I didn't use a compressor pedal, but I recently purchased your Ego pedal and your Tumnus Deluxe overdrive, and I love them both! I placed the Ego right before the Tumnus on my board, and both pedals seem to work great together in that order.
Hah! Turns out I completely misinterpreted the direction of the Attack and Blend knobs. I would expect them to work the other way around. Checking the manual now, the Blend knob direction is explained, but not the Attack knob... Thanks for clearing it up in this video!
These feel less like "mistakes" and more just not understanding all the wonderful things a compressor can do. I really liked the section about using sustain and attack, looking forward to twiddling the knobs on my Ego this afternoon! Thanks!
Unless the lack of understanding comes from a lack of effort in understanding the tool (as it often happens with fuzzes and filters, leading to people possibly even dismissing the tool without realising what it has to offer), then I'd argue it's a time - and tone - wasting mistake. :)
Great explanation Brian...it still remains one of the most mysterious pedals to me, but this helped a lot! Great tone you've got there too, by the way!
I have a Keeley four-knob at the start of the chain when I'm doing quieter, cleaner stuff. Volume at parity, sustain at 3 o'clock and blend at 50%. It lends more sustain, evens out the excesses and sounds really good, which helps me loosen up and play better. In the raucous, sonically anarchic context of our band, I often don't bother with compression but enjoy the chaos instead. By the way, miss the goats.
Compression can be hard to understand, but once you do, you realize how important it is to guitar tone. I love my Ego compressor btw, such a great pedal.
Wow thank you for clearing up a couple of confusions on compression. Some great examples of how it works and why. Dude! some really nice pickin. Good right hand making those tele strings snap and pop. Cool guitar. I never considered that often recorded guitars that have some compression, get compressed again during mixing but I am sure that's the case. Thanks for sharing your knowledge.
I have my compressor after my drive pedals and before modulation effects and it stays on. For me, its the best of both worlds. If I need more drive on some notes, I play harder to push the particular overdrive pedal I've selected for more breakup. And I don't have to worry about getting too loud because the compressor limits the volume spikes without impacting drive. I use the Keeley Compressor Plus.
I am fairly new to compression and just bought a Cali 76 today - so the timing of the arrival and content of this video could not have been any more spot on - thanks a bunch!
@@whynottalklikeapirat the input is most sensitive control if you have a guitar with both humbuckers and single coils. Until I rig up a servo to control the input knob remotely, I only use the Cali when I use single coils.
Soooooo I'm practicing for a little gig and I thought I had my tone set.. saw this video.. and decided to tweak my compressor and kick it on... thanks, I sound better now. I used to only use it for 'special' occasions.. clean with lots of picking... but now I think it'll stay on all the time.
Been watching a lot of your videos. Appreciate all your effort in explaining things. You might consider using more "industry standard" terms when it comes to compression. Downward compression reduces the volume of loud sounds above a certain threshold. Upward compression increases the volume of quiet sounds below a certain threshold. The louder sounds above the threshold remain unaffected. At 3:21 you say "It's compressing down and it's also compressing up." I know you know that's not what's happening, but it's perhaps less clear to say it that way. 5:10 you mention upward compression. That's also not really happening at all here. I don't have an Ego pedal, but from the demo I can tell it sounds very good. I recently got a Cali76 Stacked pedal, which is excellent! All compression pedals need a indication of gain reduction. The Cali76 uses a single LED and that is works well. The absolute gain reduction values in decebels are not really important. Again - I appreciate you, Brian!
I really did not like compressor pedals with guitar until I built one with a blend knob for the dry. I modified a DOD 280 style optical compressor circuit with a fet blend and I loved it. I like optical with a blend it seems. I recently built a Cornish optical comp clone and it's wicked nice, it came with a blend knob designed in. I think it's my favorite. I'll have to try an EGO out, it sounds great on the video. But I think the blend knob is a must for any compressor "pedal".
I built myself a 70s Dyna clone back in 2010. Since then I’ve gotten an optical compressor the DOD 280 and like that much better - not as noisy and it’s smoother sustain. It also seems more compatible to my DOD 250 grey spec pedals.
I contracted an unusual compression fetish years ago. I've owned literally dozens, brand and circuit types. The Dyna Comp is STILL my absolute favorite. The first time I plugged a Strat into it with a clean amp, it was love. If you use compression a lot you'll need a second compressor because the features people want: transparency, headroom, retaining dynamics, not chopping your treble off, etc: the Dyna Comp is terrible for. I like the blend control, but found that having them doesn't necessarily crucial. I owned an old 2 knob Keeley years ago, and replaced it with the 4 knob a year or so after it came out. I bought the Compressor Plus and sold my 4 knob, only to send the Plus back when buy another used 4 knob. I just didn't think it was nearly as good as the 4 knob, it seemed to thin my tone out and were too bright, even with the tone control.
Thanks, compression are is tricky effect to wrap your head around it always sounds so simple when people explain it but i guess its just hard to remember or something
I love a compressor after a 'cleaned up with volume knob' fuzz pedal. Your playing Dynamics instead of making the guitar louder or quieter, make it fuzzier or cleaner. Awesome times!
I keep my compressor on all the time. Only time I don’t, is when I’m using any type of Envelope Filter. I just came here to say that the Wampler Ego Compressor is hands down the best compressor on the market!! It’s hands down my #1 desert island pedal
Thanks Brian for taking the time with this these issues or boost before or after compress, basically the same. I'm thinking I'm like you I'd probably use it both places but it'll probably wind up boost after, !thanks
It takes some getting used but when you dial one in, its there forever. There are multiple uses for a compressor, I use it as a boost and as "talent" pedal. I own a few different kinds and they all have something great and not so great about them. I mainly use an old Keeley dimed if I use one of my old Fenders (twin or Super) and when I need a boost or evening out. I also use it if Im using single coils to fill out the in between notes Im doing a tricky rhythm that use single notes, its really helpful evening the notes out so there are not quiet and louder notes which will sounds horrible and you sound like a beginner. iIt makes a great clean boost that I really like. You have to pick the right one for the amp and style you use or it's useless. Marshalls and higher gain amps I use either a good ol' Boss CS-3, MXR Super Comp or the sleeper Marshall "Ed The Compressor". Keeley's always work better with cleaner amps but don't do much of anything in front of an old JMP, and the others sound great on all but take some playing around with. JangleBox is also a really cool compressor.
A few years ago I got a MXR studio compressor for my bass player for around 70 bucks. It’s the same pedal as the MXR bass compressor just marketed at guitars. I don’t think at the time people knew at the time. It’s a solid compressor. Great video!
Last 2 pedals on my board dB-1 for boost and a silent modded 10 band EQ with 2 out for 2 amps. These eliminated need for compresser. Got a really nice 1 modded CS-3 with a Opto + thing that's this big chip looking like a spider on the bottom of the circuit. Also got a stock CS-3 that just don't hear the need to take space. Compression can be in the fingers depending on which guitar and how it's set for that music at that time.
Thanks for this helpful video! Don't know if I'm alone on this, but I am trying to put together a straight to the front ampless board with the Cory Wong compressor as the DI. Seems logical, since it will be after delay and reverb, to just use the boost function and only turn the compression on when the verb and delay are off. What I'm driving at here: a video focusing on different DI solutions would be very cool.
I run a dynamic distortion pedal into compressor set high then use my guitars volume to adjust my gain from a great "clean" sound to distorted rock sound. It keeps my overall volume level consistent and lower because i cant crank my amp in church. Maybe I'm doing it wrong but it works.
I love compressors, I currently use 2 on my board, one is always on (Donner LAX Comp/Pre-Wah) and the other is after my gain acting as a clean boost but it's the sustain that makes me love having it there. You are doing yourself an injustice not giving compression a try.
I had struggled to find how to use a compressor for my playing style. What if found i really liked is using a compressor for sustain, volume, and tone boost during solos
If I’m in a situation where I want to use the guitar volume to clean up an overdrive or distortion pedal while playing, I put the compressor after. If I’m not doing that I place it before. I have also used the compression before the overdrive but set with less sustain. This makes the guitar volume knob more useful.
Nice one Brian you certainly are the master at explaining how it all works, it’s all about trying what’s best for everyone’s setup as they’re all different and can act differently depending on what pedals you’re using and order you have them, so it’s trial and error folks, yes there’s suggested order of where to run your pedals but no hard fast rule. Thanks for your video Brian always very informative, helpful and useful.
I belive the term you were looking for in regards to the "spikes" in the sound was transient. Having faster attack and release times will allow more transients to pass through as to not completely quash them after the initial attack.
A couple of, hopefully helpful, examples of when to put one before the other. Sometimes you're playing chords or a melody and you want some consistent "grit" or distortion as you play along, just the right amount, if you use a compressor before the overdrive/distortion pedal, it'll level out your playing and give you that consistent grit (especially if you're looking for that consistency between high/low notes or when playing more or fewer strings which changes things a lot - I've used a compressor to great effect when I was getting great drive on low notes/chords and nothing on higher ones). On the other hand, maybe you're playing a solo and you want some overall control, but you also want to make the notes scream when you dig in, then you need that compressor after the drive so the drive still reacts to your picking dynamics but the level of the performance is still controlled.
I only use slight compression (xotic) in the loop before my chorus to sorta "simulate volume" right now im mostly at home and using a smaller amp. I have pondered trying to do it with a limiter but i dont have one
So apparently David Gilmour used two compressors to achieve the Run Like Hell tone on his Telecaster. However, I found a great trick it to put an overdrive first in the chain (like an OCD) and then run it into a compressor. Even a limiter set at just right can achieve the same effect. My setup makes those triads sound as close as I've ever heard to the original album. Whatever works!
I think it would be awsome if you could make your own twist on a 90s country based compressor. Add like a gain feature. Like the old brent mason stuff. I love wampler stuff they sound awsome. So I know you could nail a pedal like I mentioned
Well damn, that makes it clear as mud. ... Glad you hit on the before, after debate to show us a before.... and a completely different after and not talk about how they related exactly You've taken a confusing topic and added "some other stuff", and "kinda" To add to the confusion
@wampler_pedals you simply didn't give much in the way of comparison in the before and after debate. ...most of us don't have the kind of resources to have two delays on either side of a distortion to hear a quick one-to-one comparison of the sound. (We all have to play, unplug, replug, play... repeat for nuisance 🤮) ... Yes, of course: There are a lot of ways to go. ...you, know more than me: Let's talk about their relative merit and then you can play one-one with a click and show us
Hey Craig, been a giant fan and longtime user...I'd love to see your thoughts and some kind of demo video on the use of compressors with plugged in acoustic guitar. Some years back, something like 2011, a friend of mine was playing a guitar I was quite familiar with (a Taylor 414, and I had worked in a guitar shop for a couple of years and had played and heard many), but it just sounded bigger and more thick than any I had heard before. An Ego was sitting on his board and I immediately got one, and since then I've played easily 1500 or more gigs, all with one in the signal path. I think it is a massively overlooked part of good acoustic tone if you play plugged in and it has made a very noticeable difference for me, over a long period of time. Parallel compression is so massive in terms of making an acoustic guitar sound big, and my 2 Egos (one got stolen! jerks) have been a desert island pedal for me. Your Cory Wong one (which I believe is a modified version of the Ego if memory serves?) looks amazing and the inclusion of an XLR out is really cool. Anyway keep it up, you're a beauty
Probably worth pointing out that the "after" compression applied on recordings is not going to be a Dyna-Comp style compressor. I seem to remember Lowell George used two Dyna-Comps in series for slide.
the compressor b4 or after will depend on the guitar, the od or drive, the amp, speakers....really even the full pedal board... in this demo, with this gtr, amp and od, and compressors being identical in all ways: B4 had much more uniformity, but extreme highs and lows chopped....the perceive volume and bass was the uniformity and low mids...very American sounding like a Bogner or Mesa Boogie sound. The comp after had more lows and highs and since the drive was outputting mostly distorted mids -those mids got ramped down with almost a noisy scooped sound, with lightly distorted lows and highs sounding sparkly but thin. That is just THIS Case... After could be improved and so could before, ultimately a smart musician tests both in a DAW with a scratch track and applies the typical but often necessary high pass eq filters and other eq, tape saturation etc to see with guitar signal path IS right for the song's mix ( sounds biggest - the right frequencies of mids, low mids, lows but doesnt muddy up or compete with bass gtr with keeping the air ( right highs : no shrillness). I would opt before with set up, lowering lows on amp first seeing if amp highs sound more airy or the drive pedal, and or starting on the drive pedal and compensating with amp eq to fiine tune. great demo Brian!
I only own 3 pedals, the Faux Tape Echo Delay, Ethereal Delay and Reverb, and the Ego Compressor. I only bought the Ego Compressor because I understood it levels out the highs and lows perhaps caused by possible imperfections in my style of playing. I do not even own a single overdrive or distortion pedal!!! Why is it "EVERY" video you do is tailored to only Overdrive pedals. Could you please do at least "ONE" to do with Faux Tape Echo Delay or Ethereal Delay and Reverb "with" the Ego Compressor Pedal?? Or did I waste the $$$$ I spent on the Ego because I'm not sure how to use it or am using it "wrong???" Thank you for this video. I am just having problems relating everything with overdrive / distortion when I don't ever use it, and right now, have zero desire to have anything to do with overdrive / distortion. The sound I want is clean with Reverb and Delay, obviously by my choice of pedals (and amp, Roland Jazz Chorus JC-120). (I stared playing in 1962, and therefore, I'm not interested in trying to play whatever is the latest, greatest, state of the art overdrive / distortion trend. I only play Strats and a couple of Les Pauls, do not even own a Tele, if that has anything impact on any advice anyone may attempt to give me. Thank you for humoring me.)
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1) What gets labelled as "Attack" on a great many compressor pedals is generally not an attack adjustment, per se, but rather a recovery-time adjustment. That is, it does not alter how quickly compression kicks in, but rather how quickly it shuts off. When the time it takes for the gain to be restored is *longer* , after pulling it down in response to picking, one tends to miss the bright pick attack of the next note picked. Shortening the recovery time makes the pick attack of subsequent notes easier to hear, which is why it tended to be labelled as "Attack". Here's the thing, though: if you pick quickly, you can easily hear what changes to "Attack" time do. But if you pick slowly, you'll be twiddling the knob wondering if it does anything at all. The effect of that control depends on your "inter-strum interval":, so bear that in mind.
As an aside, folks who study and dissect compressors will describe what gets called "breathing". If recovery time is slow, one can hear the gradual increase in hiss as the gain increases and is applied to whatever noise is in the input signal. It tends to sound like someone taking a long inhale - hence "breathing". It is MOST obvious (and annoying) if the compressor is preceded by a high-gain device.
2) I find one of the best and most helpful uses of a compressor is to maintain volume level when you're strumming and singing at the same time, or simply backing up a singer. Paying attention to what you're playing, and how loud you're playing it, can sometimes require more concentration than you have available. Compressors let you focus on one thing and not have to worry or think too hard about the other. You can flail away and not have to worry about accidentally drowning out anyone, including yourself.
3) RE: Noise. Compression serves not only to pull back on gain of peaks, but also apply gain to quieter signals. I can't think of a single analog compressor under a few thousand dollars, and able to fit on a pedalboard, that can tell the difference between a vibrating string slowly decaying, and incoming hiss/noise/hum. As far as the compressor is concerned, that soft signal (i.e., noise) is in *desperate* need of help, so it boosts it. *ALWAYS* make sure that no matter where you stick a compressor in your signal path, you feed it the quietest most noise-free signal you can.
4) RE: Before vs after. Yes, compression ahead of a dirt pedal *will* produce a more consistent dirt-tone since the compression is maintaining the signal at a constant level, relative to the clipping threshold. BUT, all dirt pedals *will* reduce the dynamics of the signal at least a little bit. So feeding a dirt pedal to a compressor will monkey with what the compressor is able to detect. Any before-vs-after comparison will depend on how much you squish with the compressor, how much distortion/clipping one aims for with the dirt pedal, and how hot the output signal is from either the compressor or dirt pedal.
That said, as noted earlier, if you feed a compressor with a cranked dirt pedal, the dirt pedal's noise is going to introduce *heavy* "breathing" during your non-strumming moments, so be careful. That doesn't mean you *shouldn't* stick compression after dirt. You just need to manage noise levels sensibly.
Pure gold, good sir!
@@wampler_pedals Thanks, Brian. I'm just glad you didn't say "That's gold, Jerry! GOLD!", like Steve Banya.
One of these days, someone, whether yourself, Andy Martin, Rhett Shul, or Josh Scott, is going to have to post a top-ten-most-misunderstood pedals video. Compression is certainly in there, as are noise gates, "exciters", some 4-knob modulation pedals, some octave-up and octave-down units, and many others. Not everything is as straightforward to beginning electric guitarists as a 3-knob fuzz.
thanks man, wonderfully comprehensive explanation!
@@giantessmaria Thanks. Brian always starts the ball rolling in the right direction. Makes it easy to fill in the gaps, and saves him the trouble of making hour-long videos! Personally, I don't think many understand or appreciate that compression IS the sound of rock. Keep in mind that, traditionally/historically, limiting and compression were needed to avoid saturating the tape that music was being recorded to, to permit fitting more music on a vinyl side, and to allow broadcast transmitters to send out as undistorted a signal as possible to listeners. At every step along the way, some degree of dynamics-reduction was being imposed on rock, making compression the "normative" sound of rock - what we hear and *like* about the music we like. Later digital technology allowed for much greater dynamics, without sacrificing sound quality, but we still associate a degree of "sponginess" with how rock guitar is *supposed* to sound. Why else do you think Tube Screamers and tube amps are as popular and standard as they are? They just sound "right" to our ears, partly *because* of the way they tinker with dynamics. So optimal use of compressor pedals is, to my mind, an important part of being a skillful rock guitar player (as is how to identify when appropriate compression is being achieved by other means).
Comment of the month right here! ♥️
I really like to keep a compressor on all the time, really subtle, to round off the edges of the sound. Also it gives a very nice percussive pop to the tone, and just helps all around with the consistency of the sound.
I play power metal and use one exactly the same way, just to smooth the dynamic range slightly and give it a little thrust to your sustain.
Same here. I think keeping one on all the time is a really good idea . Most recorded albums have a lot of compression added either pre or post production so players need to keep that in mind. A lot of records where I heard acoustic guitar really popping and sounding bright and full of sustain was very hard to match and for years I didn’t realize compression was added to that sound to make the finger picking or strumming pop out much more than it would without any compression. So, if they use them on almost every album made, it’s probably important yo keep it on a pedal board to get a more polished sound. A clean blend is great but even without one it’s not hard to adjust it to taste. One thing I always notice is they tend to boost the level a lot and that’s the first thing you’ll hear when turning the pedal on from off. I think compression is key and I wish I knew about it 15 years ago as far as pedals go.
@@jordandangelo180 you’re right. It’s a tool, and an important one. Knowing when and where, and how to apply it is key. You mentioned the level and that’s one of the things I like about keeping one on: the thinner strings sound fuller, closer to the thicker ones, making the sound more balanced. I don’t get to play super loud, or own a cool tube amp, so natural compression is not achievable for me. I get around using effects pedals and it just makes it fun for me.
At the end of the day it helps me get a sound and feel I like, and I enjoy playing because of it.
Likewise.. I set mine at a point where you don't notice it's on.. but do notice when you turn it off. It's just enough to improve string & picking balance slightly, without affecting intentional dynamics
Angus uses a wireless that compresses his signal slightly . I agree I like em , depends on what I'm playing . If I'm going for allot of dynamics ? I leave it off .off course now , I honestly forgot about this , that blend knob ... I'll be messing with that later .
I've been years watching tutorials regarding correct compression and this one is the best hands down.
Born in another millennium and die hard analog player, the only reason I’m here is to watch & learn from people who really know their stuff 😘great job sir🥂
A compressor set below unity gain and placed before a crunchy amp-style overdrive pedal can give you a sound of that amp-like pedal that's clean but still "louder" than the clean you'd get by turning the guitar volume knob down. So, say, a Vox-like overdrive can turn into a nice clean Vox tone by using a compressor as an "underdrive" pedal in front.
I do that except I roll back the volume as I use the compressor to make overdriven sounds sing
Hi! Compressor novice here. Does this also work with a Vox amp that tends to break up early, like an AC-15?
@@meadish Yes, the same principle should work.
Great lesson, Mr. Wampler. I discovered this year (when started to use analogic pedals) that a compressor can save our sound (adding volume mainly) when we want use the splitted humbuckers. It's a must have/know pedal.
I love this channel.
🍀tell you what; between you and Josh, you've given me a greater confidence in my own ears and opinions.
I've taken quite a lot of crap over the years from my purist friends; yet, brilliantly, you guys back up my own takes, as well as enrich them.
Few among TH-cam channels actually GIVE my playing something.
Blessings and best regards from the UK 🍀
A blend knob on a pedal compressor is absolutely brilliant. I have mostly limited experience with pedal compressors other than a Dyna Comp. I'm definitely going to have to go test drive an Ego though ASAP!
Thanks!
Subtle compression is a great always-on effect to tame single coils. You keep the snap with less harshness and the sustain sounds fuller. Fairly fast attack, moderate ratio and slow release.
Put a fuzz in front. Better
3 years later and I have my first compression pedal in the Ego76. Incredibly helpful video. I was going the wrong way with my attack to reduce the compressor 'clicks' as it clamps the signal. It's also just a fantastic pedal that let's me pick with some energy into my amp that has headroom to spare :)
I use an orange squeeze style compressor/boost in my effects loop last in the chain. It really does more than an EQ pedal can, basically acts like a psuedo attenuation by boosting the signal and allowing me to turn down my amp's volume to more appropriate levels without losing clarity.
Here's the thing people: The big shiny button on the top is more than a "take a break" button. If you are playing your rhythm parts with the compressor and you get to a part you need uncompressed tone, simply step on it and you have all your dynamics and uncompressed sound you can handle. When you're done with your solo or flashy part, simply turn it back on, step back like Malcolm Young would do and continue the song. I know that's extra work, but for the love of Pete it's not that bad. Case in point: I watched Eddie showing us his new 5150 IIIs and he was playing the opening riff of Unchained. He would step on the phaser when he wanted that sound, then turn it off for a few seconds, turn it back on , then off....he was actually USING the effect like an instrument by itself. In the first 8 bars he must have turned it off and on half a dozen times. You can do the same thing. On when you want compression, off when you don't. I know that sounds overly simple and it is, but the complaining by some about a great piece of gear is dumbfounding.
so, use the compressor as a volume control during the rhythm parts so the audience can hear the rest of the band over you and then take it off when you solo? BRILLIANT! Kind of like use compression in mixing. Squash down the stuff that's less important so the singer or whomever can shine through.
You just went on a rant to tell people how to turn a pedal off? What is your problem? You think people don’t turn their effects off enough?
@@Ottophil Dude I was probably high af when I wrote that. At the time is seemed like a good topic to delve into. Now, I don't know what the fuck I was talking about. There's a lesson to all of you. Don't comment while high.
By the way, unchained uses a flanger
I told Robert Keeley that I didn’t like his 4-knob at gearfest…. and he told me there was a simple answer: it’s because I was wrong.
The keeley 4 knobs are hit and miss....i had an older 4 knob that i couldnt play without....i bought another one a few years later and it sounded and reacted totally different....and the 2nd one also had a very noticable volume drop....almost hard to play WITH it now. Same exact pedals from the same era yet totally different sounding with the same guitar and rig. Saving up now for an analogman bicomprosser....probably something i should have just bought from the get go.
@MITCHYMITCH555
Hi . I realize that your Comment is 2 years old but maybe you'll see this .
Last year I bought the 4 Knob Compressor . But it's the Model with 2 Controls inside the Pedal . I'm not impressed with this Pedal in the least . So as soon as I decide which one , I'm going to order one of the Wampler Compressors .
Do you guys have any solid advice for me ?
I hope you're all doing well and staying safe . 🎸
Personally I love my Full size wampler ego comp. I have the mini but you lose 2 of the knobs which I do like using. The Cory Wong sig was fun to play with at a store but I haven’t owned it.
@@MITCHYMITCH555
Thanks Mitch . I appreciate your response and advice . That is one of the Comps I am looking at . Ya' know , Keeley has a big name and rep in the Gear world so I can't figure out why this Comp Pedal I bought sucks so much . I've gone through every Video on TH-cam trying to get tips and tricks to make it sounds better but I guess it's just crap .
I'm quite sure I'm going to get the one you suggested .
Again , thank you . I hope you're doing well . 🎸
I have the Ego and it’s a great pedal. I still like the sound of a telecaster as untouched as possible. Once you plug a good tele into a good fender 59 bassman and you find the amp’s sweet spot, what else do you need? It’s a different story if you play ampless
i introduced compression to a mate who plays acoustic guitar. he was so blown away how a subtle compression of his guitar made it feel more controlled and easier to just play and sing at the same time. It's my favorite effect especially on clean guitar. blend knobs make it easy to add as much subtilty as desired, very console oriented used by audio engineers, especially live performance.
I got myself a Wampler Ego specifically to use with acoustic live (mainly solo). Still getting my head around it, any tips or pointers to acoustic specific guides would be appreciated!
I use a keeley 4 knob and its magic with the acoustic when i turn it on lol
@@notmyname3681 sorry, just saw message. hopefully you came to the realization that used subtly is best. mix a little compression wet/dry knob, to lift the low notes up a touch but retain natural sound. too much can squish everything you play and kill dynamics. also can give a pumping sound to notes. or try slow attack, fast release.
Best video about Compresser pedal I have ever seen on TH-cam...The hands on examples beat any theorical explanation I have ever heard...
Great video, and explanation on compression! Hearing a lot of great reviews on your Ego Compressor!
This is the most helpful compressor discussion I’ve seen yet. Cheers 👍🏼
Great examples, Brian!
I have a Diamond and a Mooer Yellow Comp; the Mooer stays on the board before my drives because of the real estate it affords me. The compressor is honestly my tonal secret weapon; always on.
Cheers!
I leave mine on all the time but only for this new band I’m in. I’m backing up an acoustic player and I have to set my big 100 watt amp ,with two tubes removed and in lower mode, extremely low. Safe to say there is always a lot of headroom and even set low I have to play fairly soft. So in my case the compressor allows me to play better as I can express a little more without becoming too loud. The sustain also helps a lot with the slow long notes I’m playing.
Nice work. I couldn't get a decent tone from my amp until I put a compressor in front. And I added another one after overdrive and filter pedals, and this improves the tone even more. Game changer. 👍
My first pedal ever was a boss compressor/sustainer, I had asked the guy at the guitar store what should I get first and that’s what I walked out the door with. I don’t remember what was next but it seems to me it was another boss, CS-1 or 2 chorus pedal. I eventually found overdrive pedals and wah pedals, flangers and pitch shifters, octive and delay pedals. I have huge pedal boards and medium PBs and smaller PBs too. None of them have a compressor on board at this point but that’s going to change asap. Thanks for reminding me about the order of things and how compression makes our lives easier for a reason. Hats off to you sir…
Holy crap did the tone at 6:29 sound like a Clavinet to anybody else, or is that just me?
Oh and by the way this was a great video. Super well edited and really well spoken.
Hey Brian, I love the Ego. It's been on my main board for about 4 years. To me, it really accentuates my overall sound and tone.
I always enjoy recording through my fuzz pedals. The heavy distortion effectively compresses the signal naturally. Which is why people who play clean probably like comps more than people who play really dirty.
My favorite way of using a compressor pedal is going into a crunch drive setting on my tube amp. By adjusting it just right you can go from just soft clipping the attack of the notes to soft clipping more of the sustained notes as well. Sort of an edge to the whole tone instead of just the harder attacked notes. This was done a lot in recordings in the late 80s and 90s. It’s a great way to add a little edge to the guitar without it being fully into distortion.
Many 80's metal guys not shredders did that a Crunchy Marshall dirtier than Malcolm Young but less than EVH , but set compressor ratio up a bit and have a slightly louder Out Put level, to give boost a bit more gain volume to the amp and clip the amp that little bit more.
Saw dozens play that way.
About 2 years ago I hit on the combination of: drives -> noise gate -> compressor -> delays -> reverb. Compressor stays on all the time. Since I hit on this order I have not had to change it.
I add in a drive after the comp (both set a bit more subtle than you would without the other) and 2 types of delays (analog with mod on 1/4, digital dotted eighth after) and I’m right there with you
I will definitely have to try this! I started building but first pedalboard in early 2021, do I still have a lot to learn.
Such a great video, Brian! Been a huge fan since the early podcast days with Travis. You seem to be one of the only people on TH-cam that's able to explain and demonstrate these types of concepts and practices in such a way that most people can really understand. I love your videos and always have! Bravo!
Thank you, Mr. Wampler, for this video. For years I didn't use a compressor pedal, but I recently purchased your Ego pedal and your Tumnus Deluxe overdrive, and I love them both! I placed the Ego right before the Tumnus on my board, and both pedals seem to work great together in that order.
The Ego is the best pedal I ever bought.
Hah! Turns out I completely misinterpreted the direction of the Attack and Blend knobs. I would expect them to work the other way around. Checking the manual now, the Blend knob direction is explained, but not the Attack knob...
Thanks for clearing it up in this video!
These feel less like "mistakes" and more just not understanding all the wonderful things a compressor can do. I really liked the section about using sustain and attack, looking forward to twiddling the knobs on my Ego this afternoon! Thanks!
Unless the lack of understanding comes from a lack of effort in understanding the tool (as it often happens with fuzzes and filters, leading to people possibly even dismissing the tool without realising what it has to offer), then I'd argue it's a time - and tone - wasting mistake. :)
Great explanation Brian...it still remains one of the most mysterious pedals to me, but this helped a lot! Great tone you've got there too, by the way!
Thank you, thank you and thank you! This is a great service! Also for ponting out how many of our favorite recordings ncorporate compression.
Spewing I got the CS-3, I'm definitely shelving it for an Ego, they sound amazing.
I have a Keeley four-knob at the start of the chain when I'm doing quieter, cleaner stuff. Volume at parity, sustain at 3 o'clock and blend at 50%. It lends more sustain, evens out the excesses and sounds really good, which helps me loosen up and play better. In the raucous, sonically anarchic context of our band, I often don't bother with compression but enjoy the chaos instead. By the way, miss the goats.
Compression can be hard to understand, but once you do, you realize how important it is to guitar tone. I love my Ego compressor btw, such a great pedal.
You really levelled up your playing lately, man. Great vid.
Wow thank you for clearing up a couple of confusions on compression. Some great examples of how it works and why. Dude! some really nice pickin. Good right hand making those tele strings snap and pop. Cool guitar. I never considered that often recorded guitars that have some compression, get compressed again during mixing but I am sure that's the case. Thanks for sharing your knowledge.
I have my compressor after my drive pedals and before modulation effects and it stays on.
For me, its the best of both worlds. If I need more drive on some notes, I play harder to push the particular overdrive pedal I've selected for more breakup.
And I don't have to worry about getting too loud because the compressor limits the volume spikes without impacting drive.
I use the Keeley Compressor Plus.
I use mine in the beginning of my chain right after my tuner. I like the exotic sp compressor.
I am fairly new to compression and just bought a Cali 76 today - so the timing of the arrival and content of this video could not have been any more spot on - thanks a bunch!
Use the settings in the manual. You can't go wrong with those.
@@DaveBode Yeah I sort of made a modified version of the third setting
@@whynottalklikeapirat the input is most sensitive control if you have a guitar with both humbuckers and single coils. Until I rig up a servo to control the input knob remotely, I only use the Cali when I use single coils.
The learning curve is relatively steep but this pedal gives you studio quality comp. Love my Cali76.
@@DaveBode All single coil here but not going for the standard ice pick shit :)
Soooooo I'm practicing for a little gig and I thought I had my tone set.. saw this video.. and decided to tweak my compressor and kick it on... thanks, I sound better now. I used to only use it for 'special' occasions.. clean with lots of picking... but now I think it'll stay on all the time.
Been watching a lot of your videos. Appreciate all your effort in explaining things. You might consider using more "industry standard" terms when it comes to compression. Downward compression reduces the volume of loud sounds above a certain threshold. Upward compression increases the volume of quiet sounds below a certain threshold. The louder sounds above the threshold remain unaffected. At 3:21 you say "It's compressing down and it's also compressing up." I know you know that's not what's happening, but it's perhaps less clear to say it that way. 5:10 you mention upward compression. That's also not really happening at all here. I don't have an Ego pedal, but from the demo I can tell it sounds very good. I recently got a Cali76 Stacked pedal, which is excellent! All compression pedals need a indication of gain reduction. The Cali76 uses a single LED and that is works well. The absolute gain reduction values in decebels are not really important.
Again - I appreciate you, Brian!
I really did not like compressor pedals with guitar until I built one with a blend knob for the dry. I modified a DOD 280 style optical compressor circuit with a fet blend and I loved it. I like optical with a blend it seems. I recently built a Cornish optical comp clone and it's wicked nice, it came with a blend knob designed in. I think it's my favorite. I'll have to try an EGO out, it sounds great on the video. But I think the blend knob is a must for any compressor "pedal".
I'm glad i finally figured out you had a channel!
I built myself a 70s Dyna clone back in 2010. Since then I’ve gotten an optical compressor the DOD 280 and like that much better - not as noisy and it’s smoother sustain. It also seems more compatible to my DOD 250 grey spec pedals.
I contracted an unusual compression fetish years ago. I've owned literally dozens, brand and circuit types. The Dyna Comp is STILL my absolute favorite. The first time I plugged a Strat into it with a clean amp, it was love. If you use compression a lot you'll need a second compressor because the features people want: transparency, headroom, retaining dynamics, not chopping your treble off, etc: the Dyna Comp is terrible for.
I like the blend control, but found that having them doesn't necessarily crucial. I owned an old 2 knob Keeley years ago, and replaced it with the 4 knob a year or so after it came out. I bought the Compressor Plus and sold my 4 knob, only to send the Plus back when buy another used 4 knob. I just didn't think it was nearly as good as the 4 knob, it seemed to thin my tone out and were too bright, even with the tone control.
2 compressors at the same time? So, which one first?
Thanks, compression are is tricky effect to wrap your head around it always sounds so simple when people explain it but i guess its just hard to remember or something
I love a compressor after a 'cleaned up with volume knob' fuzz pedal.
Your playing Dynamics instead of making the guitar louder or quieter, make it fuzzier or cleaner.
Awesome times!
I keep my compressor on all the time. Only time I don’t, is when I’m using any type of Envelope Filter. I just came here to say that the Wampler Ego Compressor is hands down the best compressor on the market!! It’s hands down my #1 desert island pedal
Man these videos are super helpful! Saving for a new Paisley drive!! Can't wait thank you sir for your time!
I was waiting to see if you would turn them both on at the same time with the overdrive, LoL! Great video! Thanks!
Thanks Brian for taking the time with this these issues or boost before or after compress, basically the same. I'm thinking I'm like you I'd probably use it both places but it'll probably wind up boost after, !thanks
It takes some getting used but when you dial one in, its there forever. There are multiple uses for a compressor, I use it as a boost and as "talent" pedal. I own a few different kinds and they all have something great and not so great about them. I mainly use an old Keeley dimed if I use one of my old Fenders (twin or Super) and when I need a boost or evening out. I also use it if Im using single coils to fill out the in between notes Im doing a tricky rhythm that use single notes, its really helpful evening the notes out so there are not quiet and louder notes which will sounds horrible and you sound like a beginner. iIt makes a great clean boost that I really like. You have to pick the right one for the amp and style you use or it's useless. Marshalls and higher gain amps I use either a good ol' Boss CS-3, MXR Super Comp or the sleeper Marshall "Ed The Compressor". Keeley's always work better with cleaner amps but don't do much of anything in front of an old JMP, and the others sound great on all but take some playing around with. JangleBox is also a really cool compressor.
What do you mean by “talent” pedal?
I’m interested.
A few years ago I got a MXR studio compressor for my bass player for around 70 bucks. It’s the same pedal as the MXR bass compressor just marketed at guitars. I don’t think at the time people knew at the time. It’s a solid compressor. Great video!
Last 2 pedals on my board dB-1 for boost and a silent modded 10 band EQ with 2 out for 2 amps. These eliminated need for compresser. Got a really nice 1 modded CS-3 with a Opto + thing that's this big chip looking like a spider on the bottom of the circuit. Also got a stock CS-3 that just don't hear the need to take space. Compression can be in the fingers depending on which guitar and how it's set for that music at that time.
Thanks for this helpful video! Don't know if I'm alone on this, but I am trying to put together a straight to the front ampless board with the Cory Wong compressor as the DI. Seems logical, since it will be after delay and reverb, to just use the boost function and only turn the compression on when the verb and delay are off. What I'm driving at here: a video focusing on different DI solutions would be very cool.
I run a dynamic distortion pedal into compressor set high then use my guitars volume to adjust my gain from a great "clean" sound to distorted rock sound. It keeps my overall volume level consistent and lower because i cant crank my amp in church. Maybe I'm doing it wrong but it works.
I love compressors, I currently use 2 on my board, one is always on (Donner LAX Comp/Pre-Wah) and the other is after my gain acting as a clean boost but it's the sustain that makes me love having it there. You are doing yourself an injustice not giving compression a try.
In my opinion Keeley has a new two knob comp that solved a lot of those issues, great information as always love your pedals and the channel
I had struggled to find how to use a compressor for my playing style. What if found i really liked is using a compressor for sustain, volume, and tone boost during solos
If I’m in a situation where I want to use the guitar volume to clean up an overdrive or distortion pedal while playing, I put the compressor after. If I’m not doing that I place it before. I have also used the compression before the overdrive but set with less sustain. This makes the guitar volume knob more useful.
That makes a lot of sense. I am just getting into it now and kinda thought of something similar granted I use the volume quite a lot ...
I no longer play due to old age. But when I did, I loved using a compressor. Had an old ROSS and it was killer until it just quit one day.
Nice one Brian you certainly are the master at explaining how it all works, it’s all about trying what’s best for everyone’s setup as they’re all different and can act differently depending on what pedals you’re using and order you have them, so it’s trial and error folks, yes there’s suggested order of where to run your pedals but no hard fast rule. Thanks for your video Brian always very informative, helpful and useful.
I like to place in the last for heavy distortion tone, and place in the front for more clean/ambient tone 😊😅😊
Thanks for the Information & Excellent Demonstration!!!
Love the Pink Floyd shirt brian
Thanks for the cool info uncle Wampler
I love the sound of the top 2 strings E,A compressored.
I belive the term you were looking for in regards to the "spikes" in the sound was transient. Having faster attack and release times will allow more transients to pass through as to not completely quash them after the initial attack.
Clearly he knows the name for a transient, he's using laymen's terms to help people understand compression.
A couple of, hopefully helpful, examples of when to put one before the other. Sometimes you're playing chords or a melody and you want some consistent "grit" or distortion as you play along, just the right amount, if you use a compressor before the overdrive/distortion pedal, it'll level out your playing and give you that consistent grit (especially if you're looking for that consistency between high/low notes or when playing more or fewer strings which changes things a lot - I've used a compressor to great effect when I was getting great drive on low notes/chords and nothing on higher ones). On the other hand, maybe you're playing a solo and you want some overall control, but you also want to make the notes scream when you dig in, then you need that compressor after the drive so the drive still reacts to your picking dynamics but the level of the performance is still controlled.
I’m a bassist and I use the eqd warden comp. It’s always on, gives me lots of punch
Man, these explainations are great!
I only use slight compression (xotic) in the loop before my chorus to sorta "simulate volume" right now im mostly at home and using a smaller amp. I have pondered trying to do it with a limiter but i dont have one
for recording , gate heavy comp (12:1) di to split boosted (od) amp , then 4:1 and mid eqing on the board , for my bass
As always an educational experience.
I knew all this, kind of. So it's a very informative and useful video! Thanks!
So apparently David Gilmour used two compressors to achieve the Run Like Hell tone on his Telecaster. However, I found a great trick it to put an overdrive first in the chain (like an OCD) and then run it into a compressor. Even a limiter set at just right can achieve the same effect. My setup makes those triads sound as close as I've ever heard to the original album. Whatever works!
I think it would be awsome if you could make your own twist on a 90s country based compressor. Add like a gain feature. Like the old brent mason stuff. I love wampler stuff they sound awsome. So I know you could nail a pedal like I mentioned
The Warden Optical Compressor is the best!
I like my compressor before drive, but after boost. So If I want to some limiting on my transients, I can give it some Dbs for it to limit.
Well damn, that makes it clear as mud.
...
Glad you hit on the before, after debate to show us a before.... and a completely different after and not talk about how they related exactly
You've taken a confusing topic and added "some other stuff", and "kinda"
To add to the confusion
Interesting, what exactly is confusing you? How can I clear up the misunderstanding?
@wampler_pedals you simply didn't give much in the way of comparison in the before and after debate.
...most of us don't have the kind of resources to have two delays on either side of a distortion to hear a quick one-to-one comparison of the sound.
(We all have to play, unplug, replug, play... repeat for nuisance 🤮)
...
Yes, of course:
There are a lot of ways to go.
...you, know more than me:
Let's talk about their relative merit and then you can play one-one with a click and show us
I have a feeling this is a video I'm going to need to watch.
Brian you should show us how to play that lick @ 6:30
Hey Craig, been a giant fan and longtime user...I'd love to see your thoughts and some kind of demo video on the use of compressors with plugged in acoustic guitar. Some years back, something like 2011, a friend of mine was playing a guitar I was quite familiar with (a Taylor 414, and I had worked in a guitar shop for a couple of years and had played and heard many), but it just sounded bigger and more thick than any I had heard before. An Ego was sitting on his board and I immediately got one, and since then I've played easily 1500 or more gigs, all with one in the signal path. I think it is a massively overlooked part of good acoustic tone if you play plugged in and it has made a very noticeable difference for me, over a long period of time. Parallel compression is so massive in terms of making an acoustic guitar sound big, and my 2 Egos (one got stolen! jerks) have been a desert island pedal for me. Your Cory Wong one (which I believe is a modified version of the Ego if memory serves?) looks amazing and the inclusion of an XLR out is really cool. Anyway keep it up, you're a beauty
I've been following your channel and buying your pedals lately. Love the passion please keep it up!
Best explanation I have seen
Always helpful and good explanations, thanks!
Probably worth pointing out that the "after" compression applied on recordings is not going to be a Dyna-Comp style compressor. I seem to remember Lowell George used two Dyna-Comps in series for slide.
What's the closest to the old grey Ross compressor?
Perfect explanation 🙏
Funny & Informative video😁........thanks Wampler 👍
Great one, as usual.
Cheers
Great information! 👍🏻
@4:44 my favorite way to run comp
the compressor b4 or after will depend on the guitar, the od or drive, the amp, speakers....really even the full pedal board... in this demo, with this gtr, amp and od, and compressors being identical in all ways: B4 had much more uniformity, but extreme highs and lows chopped....the perceive volume and bass was the uniformity and low mids...very American sounding like a Bogner or Mesa Boogie sound. The comp after had more lows and highs and since the drive was outputting mostly distorted mids -those mids got ramped down with almost a noisy scooped sound, with lightly distorted lows and highs sounding sparkly but thin. That is just THIS Case... After could be improved and so could before, ultimately a smart musician tests both in a DAW with a scratch track and applies the typical but often necessary high pass eq filters and other eq, tape saturation etc to see with guitar signal path IS right for the song's mix ( sounds biggest - the right frequencies of mids, low mids, lows but doesnt muddy up or compete with bass gtr with keeping the air ( right highs : no shrillness). I would opt before with set up, lowering lows on amp first seeing if amp highs sound more airy or the drive pedal, and or starting on the drive pedal and compensating with amp eq to fiine tune. great demo Brian!
ive heard one good compressor before and that was an old dod havnt found it since
I only own 3 pedals, the Faux Tape Echo Delay, Ethereal Delay and Reverb, and the Ego Compressor. I only bought the Ego Compressor because I understood it levels out the highs and lows perhaps caused by possible imperfections in my style of playing. I do not even own a single overdrive or distortion pedal!!! Why is it "EVERY" video you do is tailored to only Overdrive pedals. Could you please do at least "ONE" to do with Faux Tape Echo Delay or Ethereal Delay and Reverb "with" the Ego Compressor Pedal?? Or did I waste the $$$$ I spent on the Ego because I'm not sure how to use it or am using it "wrong???" Thank you for this video. I am just having problems relating everything with overdrive / distortion when I don't ever use it, and right now, have zero desire to have anything to do with overdrive / distortion. The sound I want is clean with Reverb and Delay, obviously by my choice of pedals (and amp, Roland Jazz Chorus JC-120). (I stared playing in 1962, and therefore, I'm not interested in trying to play whatever is the latest, greatest, state of the art overdrive / distortion trend. I only play Strats and a couple of Les Pauls, do not even own a Tele, if that has anything impact on any advice anyone may attempt to give me. Thank you for humoring me.)
Really really useful. Helped me big style. Thanks
Thank you! Brazilian hugs!