I have watched countless videos about compression, including videos by mick and Dan, but you sir did the best job of explaining it and demoing it of them all!!
Reverb seems to be a wonderful companion with compression, as it seems to smooth things out even more and provide a soft sonic space for notes to trail into the distance.
Definitely the best video on compression I've seen. Took me forever to really get the point of having a comp pedal. This video made it easy to understand.
I've had a bit of a compression obsession forever. My favorite compression to this day is still an old tried and true Dyna Comp. If you were to list out at the things people want out of a compressor: transparent; headroo; no pump; retaining picking dynamics, etc the Dyna Comp would rate dead last, it has all those things in spades. Still, single coils through a clean amp with the comp between 9:00-10:00; it's glorious. It has a percussive click that no other compressor has. I've built scores of compressors over the years, most based off Dyna Comps/Ross compressors. The only real difference between the Dyna and the Ross are two pairs of resistors. The Dyna uses a higher value than the Ross, and that's where the click is. They use different opamps too, but that doesn't really effect how they compress. I bought a Keeley Compressor Plus several years when it came out. I had the original two knob, which I paid well over $200 back in 2005-06. The Plus was half the price and everyone raved about it, so I sold the two knob and bought one. I kept for two weeks, returned it and bought a used 4 knob, which just the two knob with the two internal knobs moved to the outside. Even with the blend on the Plus, the old circuit is far more transparent. You have to dial it in more, but when you do it's just cleaner. The Plus adds a high end that can't be dialed out, and the input gain is preset really high. Even with the blend all the way down I can still hear it. Plus you can get them for like $80 used. I'm confident that in a few years they're going to be one of those pedals that just flies up in value. Everyone uses comp now, but there aren't as many of those floating around as other pedals, due to the price and the fact that compression just wasn't as ubiquitous as it is today. *Try putting a tube screamer, or anything with a mid-hump in front of a Muff. Roll the gain back and the volume set for unity, or just a slight bump. It's the amazing Strat lead tone. It sounds more like running through a dimed stack. You get the sustain of the Big Muff, but with all the pick attack that you usually don't get. It makes even the thinnest bridge pickup sound HUGE.
I built two compressors back in the 80's from mail-order DIY kits based on Craig Anderton's wonderful book "Electronic Projects for Musicians." I used them for mastering reel-to-reel recordings. Everyone warned me against it , saying "You'll get transient artifacts like 'pumping' and 'breathing'." My response to that was simply "That's exactly what I'm after!" All of these supposedly deleterious side effects are precisely what makes compressors absolutely invaluable to me.
I always thought people would think I was crazy for stacking compressor pedals. Sometimes it's the only way I can get the note bite I need and also the correct feel through the strings. If used correctly on digital equipment, modellers, etc. you certainly can't tell the difference in feel between the digital and a really, really good tube amp.
Yeah, that could be a video all of it's own. How to set a compressor to emulate a pushed tube amp. For certain sounds they can do that very well, especially for playing and practising at home.
i always wondered how David Gilmour made those amazing riffs sound the way he does.You have made it understandable so thanks! keep the cool videos coming!
The wrong information video. MXR isn't school kids making individual pedals. Its a professional factory that makes a SET of mix & match pedals for the professionals. The professional doesn't go to MXR and buy 1 red pedal. Lunatic thrifty idiots buy 1 pedal. The red pedal doesn't work without the green sparkle pedal at the end of the signal chain.
Gilmour makes his solos sound the way he does because he plays freakin amazing. Even without comp his playing would knock your head off. Compression just helps him keep it centered in the mix.
As a Bass player I've used stacked compression in my rig for years, it's a must for any player to be able to understand and use compression, I discovered the doubling and sometimes even trippling my compression for some great variation of Suttle to all out squash compression, especially for slapping and tapping on the bass, it can really make things pop.
Yeah, and from row 10 onwards nobody can hear your sound cause its TOO LoFi it got lost. The piano beat you every time you played a note. Miles Davis just whips your arse with that trumpet.
Is there any way to make video audio better in light of this compression? Often wondered if there was an optimal way of recording the sound of guitar valve amps for TH-cam
Don't normally comment but well done. It was really worth the 14 min ride. Your presentation is working well on this video media, I hope you're doing well by this. Would recommend.
Very nice. I've stacked compression at times over the years but I've never once even thought about parallel compresion, always just ran them in series. That parallel sound is what I've been chasing. Man, it just never even occurred to me to try that with compression even though I've done parallel processing with other effects heh. Thank you!
A word here for the FMR Really Nice Compressor. It has a stacked compression mode called “super nice”. Not a pedal but only a third rack space and worth adding to any studio.
I literally just discovered your channel a couple of minutes ago. Let me say this, besides your undoubtedly deep and informative knowledge on guitar gear (thanks for sharing btw), you are a really, really good guitar player! I just love stumbling on channels like these. A true gem.
Great video. I used a CS-2 for years and foolishly sold it. Although, it has to be said, it was pretty damn noisy. Now I'm thinking of the CP-1x as a suitable replacement. I like the hard, definite percussive thwack you get from high settings, which is something I used a lot. Addendum: I hope you get to doing some longer videos because your presentation is first class; no nonsense, no waffle, tons of good info.
hi paul! some versions of the CP-3 can be modded to have a much lower noise floor and a more flexible range of settings. reverb is a great source for finding these modded boss compressors but if youre feeling advantageous with your soldering skills, the mod is relatively easy
@@karlmartin849 Well there you go then. Maybe a different use case, because I know I'm not the only one to have said how noisy it is. I love the squish of the thing, but way too noisy.
Fantastic demonstration of the results of a properly used compression pedal. You hear the difference between how if sounds with and without compression on a well known song. Brilliant. All the demos I've seen just noodle nothing tunes twiddle knobs which really doesn't show the reason you want a compressor.
The combination of that beautiful Strat with the compression is a perfect sound. I've tried to emulate it on my Tele, which is close, but what you get out of that Strat is music to my ears
This has to be one of the world's most Superbly educational channels for serious aspiring and even Pro level musicians; not just "gear heads" but musicians that want to really want to quickly learn how to maximize equipment usage and minimize problems. There's a treasure trove of very useful knowledge here that I could not even have found anyone to Pay to teach me, IF they even would that is, and IF I could have even found someone like Michael here when I was a kid.
This video was great timing. I was just searching for Dyna Comp demos and this came up. I am going to have to try the Dyna Comp into overdrive. I didn't realise that was the secret to getting those notes to stick in the Another Brick in the Wall solo. Excellent video. I've been finding your demos really refreshing. Thank you and keep up the great work.
Thank you! Yeah the Dyna Comp into a light overdrive is glorious! I got best results when combining it with the amps natural overdrive. If you're thinking of using a pedals overdrive sound I'd recommend something very natural sounding with a full and fairly even frequency response, a Boss OD-3, Nobels ODR-1, Full Tone OCD, or just a good 'amp in a box' type pedal should work well. I wouldn't recommend a mid focused OD like Tubescreamer or SD-1. If you watch the Money solo section on stacked compression with overdrive, you might be able to hear how I was getting too much mids coming through when I was combining the Dyna Comp with the Tube Pilot. That was my experience anyway, the tone of your guitar, amp and speakers all play a part as well. Thanks for commenting!
@@MichaelBanfieldGuitar Yep, I will try amp overdrive and also Boss OD-3. I recently obtained an OD-3 second hand after watching one of your videos. I really enjoy it. I might give the BD-2 a go too. Thanks for the tip of keeping away from the mid-focussed overdrives for this application. So much to explore now!
While the experts and conosceurs debate on what compression is, all I’m going to say is that I enjoyed listening to what the pedals do to the music you played so masterfully.
Best cheap compressor I've tried is the Ampeg Opto Comp. I actually bought several, use it for both bass and guitar. I never hear anyone talk about it. Optical compressors are definitely my favourite. I have a Dynacomp but I find it noisy for recording.
Great vid, I'm thinking about getting a compressor and this is the best video I've seen (and I've been looking at a lot!) for giving A/B comparisons with/without compression and it actually is discernable. Great job!
Great vid. I have a Keeley Compressor Plus that has a blend knob that allows you to mix clean signal with your compressed signal. I guess my only gripe with it is that it has a switch to control attack rather than a knob, but it's still a great pedal.
Gilmour has stated that he did not utilize a guitar amplifier for his solo on Another Brick in the Wall, but rather plugged his axe directly into the mixing board. Subsequent signal processing is anyone's guess - but yeah, definitely compression is involved. He stated this in an interview with Guitar Player magazine sometime back in the 80's when I had a subscription to said publication. For what it's worth.
My understanding is that he was plugged in to the desk, and running through multiple stages of compression and gates, and re-amped through a Mesa Boogie with light preamp drive. Also he was using a '50s Les Paul gold top with p90s. Everyone assumes it's a strat, as did I. I think you can really hear the gates too.
@@xenod1066 That's really interesting. Sounds about right. That P90 tone is so luxurious. That's all I play personally. All my axes are loaded with P90's. Yeah, you can really feel the abrupt decay of the gates on that piece.
At the time Pink Floyd (and their producer for The Wall) were highly aware of what the top LA session guys were up to, and even got Lee Rittenhauer in to help on the album, as well as a top session drummer on a couple of parts. So they knew about the "desk tones" that defined 80s clean guitar, which is a technique that goes back much further with the likes of Nile Rogers. The key to a good desk tone is lots of compression, because that's the main thing that makes a DI guitar tone sound full. The other part is to avoid strat bridge pickups on their own. "in between" tones are where it's at. Then plenty of modulation (or the famous Eventide micro pitch effect), reverb and delay. Pink Floyd used all the latest technology and techniques on that album, just as they had on previous albums. They liked to keep up with what was going on. They always did their homework. "Run like Hell" used dotted 8th note delay for example, which at the time was still a pretty new trick that few guitar players had mastered.
@@Patrick-857 Another Brick in the Wall is decidedly a disco track. As such, it is only natural that recording methods of the era were utilized in the production. You are quite correct in stating that the direct-to-deck method was very popular at that time. Everyone from Steely Dan to the Bee Gees was plugging straight into the console.
I had a CS-3 and never got on with it so I sold it and went off compressor pedals entirely. Then my band decided to add country songs, and compression is a necessary component (especially with hybrid picking) so I got a Keeley Compressor Plus, and now that pedals is always on. It really tames the high frequencies of a Tele bridge pickup.
I don't know when I'm gonna put it to good use, but for the first time I think I actually understand how to use compressors, thank you. definitely saving it in my favorites
Hi Michael. First video I've seen of yours but also one of the most useful I've seen in awhile. I just bought a Cali 76 for a George Harrison/Beatles inspired board I'm building (Dr. Robert fuzz, Jext Telez white pedal, Keeley 30 ms). I've got a Boss CS-3 I've had for years sitting around. Definitely going to try stacking compressors. This was quite inspiring. Cheers.
I've been playing guitar for over 30 years and bass for 15. The 1st time I used compression was when I was learning to pedal my fingers on bass. Now I use it on everything. Especially when I record drums for my demos
Great video. I can actually hear the compression more than I can on other reviews, even whey you're not stacking them. Thank you, I have a better idea of how compression sounds.
During my six year tenure with a Pink Floyd tribute band I used far less outboard compression than I expected to. If you want to recreate studio tones, it's fine, but in a live situation I found that the guitars sounded less distinct.
@@GS-uy4xo the use of compression made everything less dynamic, which of course is the point, but it seemed very studio like, and during the louder bits (I played in a ten piece band) it worked far better with a simpler sound. I think I only used audible compression in songs like Another Brick pt. 1 and 2 and later songs like Keep Talking and Coming Back to Life.
@@lysaarvideo thanks for the tip, it'll help me train my ear. I'm 70+% deaf, mostly from crawling into the Marshalls at every opportunity. Anyway if I don't wear hearing aids I'm tone deaf.
Yep. In the studio, compression on a guitar is a good tool. In a live mix, you might as well not even be playing because everything else will stomp all over you.
Man Nice playing! I just started playing with compression and I dialed in a sustain for days setting. Its really a huge difference and what i used to think was just the sound of a Strat I'm finding it really brings that particular sound out a lot more. Really a great video on compression and what it does. You can talk about it for days but hearing it is way better and i can definitely hear it well demonstrated here. Thanks for the great video!! Subbed!!
Use a Gibson Les Paul for that solo like Gilmour did and you will not need to compress it to get the sustain (apparently recorded direct and then they re-amped it and probably did use compression somewhere in the chain, but the thick sustain that solo is famous for is a Les Paul with P90s).
That solo features a lot of compression. Going 'direct' will include the entire channel strip, which generally feature EQ & dynamics processing on that console as well as the option for inserts, which means engineers can patch in outboard compressors like the 1176, LA2A, 3A etc. The Cali76 is an attempt to make a guitar chain/pedalboard friendly 1176.
One of the best compressors I have ever used is on a Boss BE5 one of their first multi Fx,Xotic is great too,and the Electro Harmonix Platform is incredible,,but I 99% use my Roland GP100 multi Fx,which has a great compressor,,my sequence is Wah,Comp,OD/Dist,Delay,Chorus
@@mikelundquist4596 Correct. He daisy-chained two Urei 1176 FET compressors in the studio, which is what the SlideRIG is in one unit. I believe it’s discontinued now but plenty still floating around on the used market
Great video! I was waiting for a UniVibe to kick in at the end. I was experimenting with Gilmour's tone in AmpliTube and found this signal chain to be pretty close: Noise Gate > Dyna Comp > Maestro Fuzz Tone > Chandler Tube Overdrive > Echoplex > Uni-Vibe > Fender Twin Reverb Silverface (all effects in front of the amp). Some post amp Hall reverb mixed in. Different pedals on/off depending on song and section.
VERY nice! Subscribed! I used to have a Dynacomp and just loved how this thing eats transients. Then got a Diamond Compressor, but for the last 5 years or so my main comp has been a Vahlbruch Quantum; a very quiet, transparent pedal that also offers a switchable parallel mode. Highly recommended.
Wonderful video, wonderful information, wonderful playing. I was in college when The Wall came out and was completely confused and obsessed by the guitar sound in Another Brick in the Wall. It’s nice to know wence it came.
It won't make the vintage sound by itself. The final pedal must be the green carbon copy delay pedal. If you don't use the SET of MXR pedals, you'll never hear the vintage sound designed by MXR.
Brilliant! There was a time when my only gain pedals were an MXR micro amp (too bright for me) and a Dyna comp. I ended up only using the Dyna comp and my volume knob for all my rhythm and soloing and honestly it was probably the best my tone ever was. I love the Dyna Comp but it’s so noisy. I wonder if the Script is less noisy but I am looking at a really nice upgrade to a Maxon CP9 instead. It’ll stack well with the Dyna Comp. now I have an OD808 and Proco Rat for distortion sounds. The compressor really evens the sustain out and actually sounds more natural than not using compression with dirt pedals.
Try placing your compression before your drive pedals- it reduces noise quite a bit because generally, that's where it's really coming from- the compressor is just doing its job and boosting that noise up where you can hear it now. Doesn't always work because sometimes the sound you want sort of requires you to put it after the drives but- if you can, it helps. I also just saw a compressor just a few days ago that was specially designed not to boost noise- but now I can't remember where I saw it. The guy was bragging about how Rick Beato had apparently gotten one and called him up to say it was the best compression pedal he had ever used. I'm sure you'll hear about it if you follow pedals- it just came out and from what I could gather was making a big impression on a lot of ppl. Good luck with it man, chasing noise in your signal chain can drive you batty.
Its not brilliant. To activate the famous vintage sound by MXR you must buy and use the SET of pedals. You're not allowed to use 1 pedal and get the famous vintage sound. The micro amp pedal still requires the carbon copy delay pedal. The dyna comp pedal requires the carbon copy delay pedal to complete the signal to make the vintage sound. FACTORIES DON'T GET RICH SELLING 1 PEDAL TO THE POOR AND THRIFTY CLASS. Wake-up guitarists! You're not getting away with spending small amounts of money. Too bright is an incomplete signal. It requires further refinement from another MXR pedal.
Hello Michael and thanks for video. Wondering how did you manage the noise of 3 compressors on a single coil guitar? Dyna comp itself generates a lot of noise!
To control where you hit the breaking point of tubes is very important, compression or limiting can help that along the way. I use the LA compressor in my Helix on all presets to smoothe the signal a little befor hitting the amps. In a traditional setting I've employed the Carl Martin limiter/compressor as a limiter to take the peaks of my rhythm playing while keeping the soft dynamics intact. It has worked very well in worship where it's place before my first drive, it's a beautiful thing!
In 1993 I bought the boss cs3. I thought it was the worst pedal ever especially as it was 350$ back then. I have only recently bought a cheap irin 20$ compressor for my bass rig. Never liked compression or noise gates. I do use a gate now and like to use a fuzz with heavy gating. Thank you for the video. Great demo ❤
Thank you this is a really interesting and useful and thought-provoking video never thought about stacked compression and regardless of what people say about it coming through a little iPad speaker. The whole point is to inspire you to get a couple of compressors and start experimenting for yourself ✊ so thank you. I’m about to go and do that now 👍
Excellent vid, thank you! However, one KEY aspect when listening to comps in a clean sound settings is that the comp'd sound should be at the same level (sound pressure levels). Why is that? Because our ears are primed to Loud = "Better", in turn because, Fletcher-Munson (cue "loudness" controls on vintage hifi amplifier units). So - when AB'ing the clean vs. comp sounds one should always match the volume of the two signals to get the best picture of what is happening and if the comp settings are correct in terms of squish / pump, fattening, release, etc
You have a new subscriber from this video. I am in the process of putting together pedalboard options and Gilmour is one of my favourite guitarists. Will definitely be adding an extra compressor or two now.
Try the Boss CP1X.... well worth the price tag to replace the Dynacomp and CS3. I also have the Cali76 CD and used both for Gilmour stuff. CP1X is very versatile, and the bonus IMO, is it preserves the Attack (double tracked Dry + Wet in Studio)... as long as you don't crank the controls.
That's very kind! There are plenty of people who are far more knowledgeable than me about the exact gear that Gilmour used but I hope this video at least helps people learn some different ways of using compression. Thanks for commenting!
I record a lot and usually it's at least one compressor in the beginning of the signal chain, one at the end and then one on the master bus. So this makes a lot of sense 👍
Hey Michael I just started watching your videos and I think they are fantastic! As an almost intermediate guitarist with a boss RC 600 Im starting to get my head around the effects and came up with a really cool chorus sound after your boss chorus pedal comparison so cant wait to try this out on my rc 600 even though I don't have valve!
in case anybody was wondering both 'another brick in the wall part 2" and "something" (the beatles) are both commonly referred to as the ultimate examples of "the strat sound" when, in fact, both were played on les pauls.
I had 60's Tremolux as a teen (80's) with which I used a distortion pedal... I let a guy use it and he had a compressor which got it sounding its best ever. It was wild.
I really enjoy watching your videos! always very succinct and informative! :) any possibility to make a video stacking overdrives with fuzz's pedals? it would be very neat!
Essentially, using multiple compressors in series, each set moderately grants all of the benefits of compression while avoiding the sonic anomalies that occur when using a single compressor at high settings. I use a Cali 76 Deluxe and and an Xotic SP in series (one into the other), both at moderate settings. This way I get as much compression as I wan without it sounding a if I'm using a compressor. This method also permits sharp attack along with the compression if you want it. Using compressors in series that utilize different methods of compression (the Cali 76 is a classic FET-style, and the Xotic SP is a Ross-style) increases the complexity of the sound in a very satisfying way. Roger McGuinn pioneered this technique. It works nicely for him, it does for me, too, and it will for anyone who tries it.
hi question, but first great vid, thanks, v helpful. sounds great too, lovely tones and playing. It seems like your board is running right to left? so you're putting your compressors before the fuzz and OD? Why is this? I'd think (but do not claim any expertise or authority) that you'd want distortion/OD before, so that they can react the most to your playing, giving more range to how much fuzz/OD based on how agressively one is playing/picking? Then compression after (which you might be able to go easier on, then), to rein in the stray dynamics left over? Or is it better to put the compression first, then 'treat' it with the fuzz/OD. I realize pedal ordering is part of the creative decision, like effect selection and settings, and it seemed like you're kinda specifically going for a David G type sound/approach (which gets pretty close to capturing it). So maybe he did it this way?
Another thing you could try with the Big Muff is to put the overdrive before it - to my ears it doesn’t change the overall sound as much but it does tighten up the low end and the low mids.
Yes..... I run a Cali 76 parallel to a Compadre. The both have a dry blend and with the midi presets the range of blends is huge and can still be subtle. They're in a switcher so can stack them too... the Lowell George thing.
Something i noticed with David on his leads he will sometimes use a tremolo bar to help complete his bends. In other words if it is a full Bend he will do 3/4s of it with fingers and the last 1/4 with pulling back on the trem bar.... its impressive that you can hit the notes without it but I imagine it may add more flavor with that technique no matter what David is the master
Actually, the way he sets up the tremolo on his Strats, the pitch can only be lowered. He has the bridge securely against the body so as to help facilitate tuning stability.
@@pauldemattia2419 I just went and watched vids of comfortably numb live and marooned live and it looks like he uses it up and down..... where did you get the info he has it locked like van Halen? Even if he does though the miss interrupt of mine has helped me think of bends in different ways I guess
@@kapislap He varies a lot actually, his black strat went through an ungodly amount of changes from 1970 and onwards, I do believe the Pompeii recording of echoes shows he has it decked, for dark side I'm not sure, but performances during the 80's it looks like he has a floating bridge almost all of the time.
Just a note, he didn't use the Big Muff for the Time solo, he used an original fuzz face - the same one as Hendrix - into an already slightly driven amp.
Wow! I also never thought about stacking compressors. My first compressor was rat mount so that shows how long I've been playing about the compressors. Oh my gosh! I'm in the studio, home studio etc. And also use the compressor on base as well as electric and acoustic. I also like experimenting with different pedals between the compressors you have a you have a chain of different pedals between each compressor enjoy! I can't wait to see more of your videos. Wow! Fishes up and a whole New world for me. Wow! Thanks so much! Very much appreciated for this. Wow! Enjoy! Keep up on lovely work. Enjoy!
Subbed.. I've been trying to figure out if I should put my dyna comp before or after my opti (fwp I know) and there's only so much I can do on my own through experimentation. You just came out and said it, dyna after the other. Thank you Michael Banfield and thank you David Gilmour.. running a Walrus Audio Mira and a JAM Dyna-ssor. they sound great in either order but there's a certain clean I haven't been achieving by running the dyna first. Thanks for the vid..
If you’re trying to sound like a recorded tone it makes sense to do the stacked compression. Even if David only used one compressor pedal on a song, there’s going to be some compression from gain stages. The tape machine will add tape compression, in the tracking ,mixing and mastering stages of the record there would be compression used by the engineers. Some of the tones on this video sound a little too compressed to my ears. But tone is subjective. Overall cool video, I haven’t seen many people discussing stacked compression, and it’s a good conversation to have.
![Beyond The MXR Dyna Comp & Boss CS-3 Compressor [J Rockett Airchild, UA LA-2A, 1176 & Origin Cali76]](/img/n.gif)
5-star tutorial all around; probably the best, and clearest discussion of compression I have encountered. Thanks for posting this!
I think exactly the same 😎👍
I really like that a lot of your gear can be easily found and are widely available to the general public.
I have watched countless videos about compression, including videos by mick and Dan, but you sir did the best job of explaining it and demoing it of them all!!
Exactly!
Reverb seems to be a wonderful companion with compression, as it seems to smooth things out even more and provide a soft sonic space for notes to trail into the distance.
And delay. Pink Floyd used a ton of it.
@I Angst Yes, Gilmore is a pioneer in the tasteful use of audio effects
Reverb before or after compression?
@@runreilly I usually run reverb before compression unless you run it in a effects loop.
Definitely the best video on compression I've seen. Took me forever to really get the point of having a comp pedal. This video made it easy to understand.
Nice vid dude! Just getting into effects & recording so this was helpful.
I've had a bit of a compression obsession forever. My favorite compression to this day is still an old tried and true Dyna Comp. If you were to list out at the things people want out of a compressor: transparent; headroo; no pump; retaining picking dynamics, etc the Dyna Comp would rate dead last, it has all those things in spades. Still, single coils through a clean amp with the comp between 9:00-10:00; it's glorious. It has a percussive click that no other compressor has. I've built scores of compressors over the years, most based off Dyna Comps/Ross compressors. The only real difference between the Dyna and the Ross are two pairs of resistors. The Dyna uses a higher value than the Ross, and that's where the click is. They use different opamps too, but that doesn't really effect how they compress.
I bought a Keeley Compressor Plus several years when it came out. I had the original two knob, which I paid well over $200 back in 2005-06. The Plus was half the price and everyone raved about it, so I sold the two knob and bought one. I kept for two weeks, returned it and bought a used 4 knob, which just the two knob with the two internal knobs moved to the outside. Even with the blend on the Plus, the old circuit is far more transparent. You have to dial it in more, but when you do it's just cleaner. The Plus adds a high end that can't be dialed out, and the input gain is preset really high. Even with the blend all the way down I can still hear it.
Plus you can get them for like $80 used. I'm confident that in a few years they're going to be one of those pedals that just flies up in value. Everyone uses comp now, but there aren't as many of those floating around as other pedals, due to the price and the fact that compression just wasn't as ubiquitous as it is today.
*Try putting a tube screamer, or anything with a mid-hump in front of a Muff. Roll the gain back and the volume set for unity, or just a slight bump. It's the amazing Strat lead tone. It sounds more like running through a dimed stack. You get the sustain of the Big Muff, but with all the pick attack that you usually don't get. It makes even the thinnest bridge pickup sound HUGE.
I built two compressors back in the 80's from mail-order DIY kits based on Craig Anderton's wonderful book "Electronic Projects for Musicians." I used them for mastering reel-to-reel recordings. Everyone warned me against it , saying "You'll get transient artifacts like 'pumping' and 'breathing'." My response to that was simply "That's exactly what I'm after!" All of these supposedly deleterious side effects are precisely what makes compressors absolutely invaluable to me.
@@robertwalsh782 👍 indeed
@@robertwalsh782id love to see your custom units
compression is the most underrated, yet widely used effect. thanks for another fantastic informative video!
My favorite uses of one that are probably unconventional are using it as a solo boost or pseudo-attenuator after my drives or in an FX loop.
It can’t be widely used and under rated at the same time. Lol.
@@jimmydriveway I think what he meant about that is that it's not celebrated as much as distrotion, fuzz, or reverb.
True, this guy does not see the big pitcure.
I have my Compression on all the time,on my GP100
I always thought people would think I was crazy for stacking compressor pedals. Sometimes it's the only way I can get the note bite I need and also the correct feel through the strings. If used correctly on digital equipment, modellers, etc. you certainly can't tell the difference in feel between the digital and a really, really good tube amp.
Yeah, that could be a video all of it's own. How to set a compressor to emulate a pushed tube amp. For certain sounds they can do that very well, especially for playing and practising at home.
David Gilmore wouldn’t have thought that! Ha!
I wouldn't worry about what people think, I've seen plenty of guitar players that don't even know why they put a compressor in their signal chain.
I can bloody well tell the difference.
Each to his own.
@@MichaelBanfieldGuitar please do it ! It would be so interesting 👍🏻👍🏻
i always wondered how David Gilmour made those amazing riffs sound the way he does.You have made it understandable so thanks! keep the cool videos coming!
The wrong information video.
MXR isn't school kids making individual pedals.
Its a professional factory that makes a SET of mix & match pedals for the professionals.
The professional doesn't go to MXR and buy 1 red pedal.
Lunatic thrifty idiots buy 1 pedal.
The red pedal doesn't work without the green sparkle pedal at the end of the signal chain.
He never stacked compressor pedals. This video is embellishing that.
Gilmour makes his solos sound the way he does because he plays freakin amazing. Even without comp his playing would knock your head off. Compression just helps him keep it centered in the mix.
As a Bass player I've used stacked compression in my rig for years, it's a must for any player to be able to understand and use compression, I discovered the doubling and sometimes even trippling my compression for some great variation of Suttle to all out squash compression, especially for slapping and tapping on the bass, it can really make things pop.
you better calm down...
@@brianwarner308 ...Relax.
Yeah, and from row 10 onwards nobody can hear your sound cause its TOO LoFi it got lost.
The piano beat you every time you played a note.
Miles Davis just whips your arse with that trumpet.
The most compression is coming out of TH-cam...
Is there any way to make video audio better in light of this compression? Often wondered if there was an optimal way of recording the sound of guitar valve amps for TH-cam
@@jamescerone thanks James , that’s interesting
Haha. Different type of compression though.
@@ourclarioncall I’m no expert but recording to a amp sim on computer is probably the best way to record guitar
😂
For a compressor with a great blend and lots of versatility the Thorpy FX Fat General is amazing
Don't normally comment but well done. It was really worth the 14 min ride. Your presentation is working well on this video media, I hope you're doing well by this. Would recommend.
Very nice. I've stacked compression at times over the years but I've never once even thought about parallel compresion, always just ran them in series. That parallel sound is what I've been chasing. Man, it just never even occurred to me to try that with compression even though I've done parallel processing with other effects heh. Thank you!
You have NO idea MXR red pedals can't be used without the green carbon copy delay pedal either.
The red pedal by itself won't make the vintage sound.
Are you aware that the Carbon Copy is a modern MXR pedal and did not exist until decades after the Dyna Comp was released?
Single coil pickups with some compression dialed in is magic 👍🏻🎸🖖🏻
Couldn't agree more!
Its not the famous vintage sound by MXR.
You've got the sound of an incomplete signal.
Especially if it is P90's!
A word here for the FMR Really Nice Compressor. It has a stacked compression mode called “super nice”. Not a pedal but only a third rack space and worth adding to any studio.
That does indeed look like a very nice compressor. Thanks for sharing
I literally just discovered your channel a couple of minutes ago. Let me say this, besides your undoubtedly deep and informative knowledge on guitar gear (thanks for sharing btw), you are a really, really good guitar player! I just love stumbling on channels like these. A true gem.
…if i would be Michael Banfield, I would be really happy with your comment. (I felt like someone needed to say that :)
Great video. I used a CS-2 for years and foolishly sold it. Although, it has to be said, it was pretty damn noisy. Now I'm thinking of the CP-1x as a suitable replacement. I like the hard, definite percussive thwack you get from high settings, which is something I used a lot. Addendum: I hope you get to doing some longer videos because your presentation is first class; no nonsense, no waffle, tons of good info.
hi paul! some versions of the CP-3 can be modded to have a much lower noise floor and a more flexible range of settings. reverb is a great source for finding these modded boss compressors but if youre feeling advantageous with your soldering skills, the mod is relatively easy
I own an early 80's cs-2 and have never found it to be noisy. My other favourite compressor is the Jam Dyna-ssoR.
@@karlmartin849 Well there you go then. Maybe a different use case, because I know I'm not the only one to have said how noisy it is. I love the squish of the thing, but way too noisy.
@@paulbellamy2810 Have you tried finding a way to eliminate the noise?
@@karlmartin849 Yeah, I sold it. :D
Fantastic demonstration of the results of a properly used compression pedal. You hear the difference between how if sounds with and without compression on a well known song. Brilliant.
All the demos I've seen just noodle nothing tunes twiddle knobs which really doesn't show the reason you want a compressor.
Great tutorial. I enjoyed how you took the time to and clearly showed how the pedals interact with each other.
Thank you, glad it was helpful!
The combination of that beautiful Strat with the compression is a perfect sound. I've tried to emulate it on my Tele, which is close, but what you get out of that Strat is music to my ears
This has to be one of the world's most Superbly educational channels for serious aspiring and even Pro level musicians; not just "gear heads" but musicians that want to really want to quickly learn how to maximize equipment usage and minimize problems. There's a treasure trove of very useful knowledge here that I could not even have found anyone to Pay to teach me, IF they even would that is, and IF I could have even found someone like Michael here when I was a kid.
This video was great timing. I was just searching for Dyna Comp demos and this came up.
I am going to have to try the Dyna Comp into overdrive. I didn't realise that was the secret to getting those notes to stick in the Another Brick in the Wall solo.
Excellent video. I've been finding your demos really refreshing. Thank you and keep up the great work.
Thank you! Yeah the Dyna Comp into a light overdrive is glorious! I got best results when combining it with the amps natural overdrive. If you're thinking of using a pedals overdrive sound I'd recommend something very natural sounding with a full and fairly even frequency response, a Boss OD-3, Nobels ODR-1, Full Tone OCD, or just a good 'amp in a box' type pedal should work well. I wouldn't recommend a mid focused OD like Tubescreamer or SD-1. If you watch the Money solo section on stacked compression with overdrive, you might be able to hear how I was getting too much mids coming through when I was combining the Dyna Comp with the Tube Pilot. That was my experience anyway, the tone of your guitar, amp and speakers all play a part as well. Thanks for commenting!
@@MichaelBanfieldGuitar Yep, I will try amp overdrive and also Boss OD-3. I recently obtained an OD-3 second hand after watching one of your videos. I really enjoy it. I might give the BD-2 a go too.
Thanks for the tip of keeping away from the mid-focussed overdrives for this application.
So much to explore now!
While the experts and conosceurs debate on what compression is, all I’m going to say is that I enjoyed listening to what the pedals do to the music you played so masterfully.
Best cheap compressor I've tried is the Ampeg Opto Comp. I actually bought several, use it for both bass and guitar. I never hear anyone talk about it. Optical compressors are definitely my favourite. I have a Dynacomp but I find it noisy for recording.
Best pedal vid I've seen in ages. Great guide to different types of comp - brilliantly illustrated and an excellent practical guide
Great vid, I'm thinking about getting a compressor and this is the best video I've seen (and I've been looking at a lot!) for giving A/B comparisons with/without compression and it actually is discernable. Great job!
Great vid. I have a Keeley Compressor Plus that has a blend knob that allows you to mix clean signal with your compressed signal. I guess my only gripe with it is that it has a switch to control attack rather than a knob, but it's still a great pedal.
Gilmour has stated that he did not utilize a guitar amplifier for his solo on Another Brick in the Wall, but rather plugged his axe directly into the mixing board. Subsequent signal processing is anyone's guess - but yeah, definitely compression is involved. He stated this in an interview with Guitar Player magazine sometime back in the 80's when I had a subscription to said publication. For what it's worth.
My understanding is that he was plugged in to the desk, and running through multiple stages of compression and gates, and re-amped through a Mesa Boogie with light preamp drive.
Also he was using a '50s Les Paul gold top with p90s. Everyone assumes it's a strat, as did I. I think you can really hear the gates too.
@@xenod1066 That's really interesting. Sounds about right. That P90 tone is so luxurious. That's all I play personally. All my axes are loaded with P90's. Yeah, you can really feel the abrupt decay of the gates on that piece.
I remember the days of "Guitar Player for the practicing musician"
Those were good days. So much has changed.
At the time Pink Floyd (and their producer for The Wall) were highly aware of what the top LA session guys were up to, and even got Lee Rittenhauer in to help on the album, as well as a top session drummer on a couple of parts. So they knew about the "desk tones" that defined 80s clean guitar, which is a technique that goes back much further with the likes of Nile Rogers.
The key to a good desk tone is lots of compression, because that's the main thing that makes a DI guitar tone sound full. The other part is to avoid strat bridge pickups on their own. "in between" tones are where it's at. Then plenty of modulation (or the famous Eventide micro pitch effect), reverb and delay.
Pink Floyd used all the latest technology and techniques on that album, just as they had on previous albums. They liked to keep up with what was going on. They always did their homework. "Run like Hell" used dotted 8th note delay for example, which at the time was still a pretty new trick that few guitar players had mastered.
@@Patrick-857 Another Brick in the Wall is decidedly a disco track. As such, it is only natural that recording methods of the era were utilized in the production. You are quite correct in stating that the direct-to-deck method was very popular at that time. Everyone from Steely Dan to the Bee Gees was plugging straight into the console.
I had a CS-3 and never got on with it so I sold it and went off compressor pedals entirely. Then my band decided to add country songs, and compression is a necessary component (especially with hybrid picking) so I got a Keeley Compressor Plus, and now that pedals is always on. It really tames the high frequencies of a Tele bridge pickup.
Excellent demonstration. Thanks for taking the time out to do this.
My pleasure. Thanks!
I think you chose good musical examples to demonstrate compression. I had never thought of stacking them, but now i need to try.
I don't know when I'm gonna put it to good use, but for the first time I think I actually understand how to use compressors, thank you. definitely saving it in my favorites
That's great. Glad you found it helpful!
I don't think I've seen a better vid on compression. Well done. 😎
I started using a POD XT PRO for live solo work 20 years ago and you can stack compression with that which I did . Works well...
I love compressors. Especially the simple MXR.
Hi Michael. First video I've seen of yours but also one of the most useful I've seen in awhile. I just bought a Cali 76 for a George Harrison/Beatles inspired board I'm building (Dr. Robert fuzz, Jext Telez white pedal, Keeley 30 ms). I've got a Boss CS-3 I've had for years sitting around. Definitely going to try stacking compressors. This was quite inspiring. Cheers.
I've been playing guitar for over 30 years and bass for 15. The 1st time I used compression was when I was learning to pedal my fingers on bass. Now I use it on everything. Especially when I record drums for my demos
Great video. I can actually hear the compression more than I can on other reviews, even whey you're not stacking them. Thank you, I have a better idea of how compression sounds.
Thank you, glad it was helpful!
I keep coming back to your channel to learn about pedals I haven't figured out yet. This was great, thank you!
During my six year tenure with a Pink Floyd tribute band I used far less outboard compression than I expected to. If you want to recreate studio tones, it's fine, but in a live situation I found that the guitars sounded less distinct.
Thanks for chiming in - can you elaborate a bit more, was it problem of getting lost in the mix or more of a feel thing?
@@GS-uy4xo the use of compression made everything less dynamic, which of course is the point, but it seemed very studio like, and during the louder bits (I played in a ten piece band) it worked far better with a simpler sound. I think I only used audible compression in songs like Another Brick pt. 1 and 2 and later songs like Keep Talking and Coming Back to Life.
@@lysaarvideo thanks for the tip, it'll help me train my ear. I'm 70+% deaf, mostly from crawling into the Marshalls at every opportunity. Anyway if I don't wear hearing aids I'm tone deaf.
Yep. In the studio, compression on a guitar is a good tool. In a live mix, you might as well not even be playing because everything else will stomp all over you.
@@michaelgarcia2050 if that's happening can't you just turn up the level on the compressor pedal??
Man Nice playing! I just started playing with compression and I dialed in a sustain for days setting. Its really a huge difference and what i used to think was just the sound of a Strat I'm finding it really brings that particular sound out a lot more. Really a great video on compression and what it does. You can talk about it for days but hearing it is way better and i can definitely hear it well demonstrated here. Thanks for the great video!! Subbed!!
Awesome demo, compression and sustain really helps with nuances, especially DG bends and trailing notes.
Use a Gibson Les Paul for that solo like Gilmour did and you will not need to compress it to get the sustain (apparently recorded direct and then they re-amped it and probably did use compression somewhere in the chain, but the thick sustain that solo is famous for is a Les Paul with P90s).
That solo features a lot of compression. Going 'direct' will include the entire channel strip, which generally feature EQ & dynamics processing on that console as well as the option for inserts, which means engineers can patch in outboard compressors like the 1176, LA2A, 3A etc. The Cali76 is an attempt to make a guitar chain/pedalboard friendly 1176.
Yeah, but as I read it, he used a Ross compressor direct into the board with the Les Paul.
One of the best compressors I have ever used is on a Boss BE5 one of their first multi Fx,Xotic is great too,and the Electro Harmonix Platform is incredible,,but I 99% use my Roland GP100 multi Fx,which has a great compressor,,my sequence is Wah,Comp,OD/Dist,Delay,Chorus
I recently got an Orange kongpressor, it's great. Not too expensive (compared to most pedals nowadays)
I heard Lowell George stacked compression too, I tried it,liked it,continue to use two compression pedals,sounds good.
I heard Lowell George of Little Feat used two MXR dynacomps stacked.He does have crazy sustain without fuzz. Not many choices for comp pedals in 70s.
Origin Effects makes the SlideRIG Compact Deluxe MK2, which is Lowell’s setup in one pedal
I may be wrong, but I think in the studio he used a Urei.
@@mikelundquist4596 Correct. He daisy-chained two Urei 1176 FET compressors in the studio, which is what the SlideRIG is in one unit. I believe it’s discontinued now but plenty still floating around on the used market
Great video! I was waiting for a UniVibe to kick in at the end. I was experimenting with Gilmour's tone in AmpliTube and found this signal chain to be pretty close: Noise Gate > Dyna Comp > Maestro Fuzz Tone > Chandler Tube Overdrive > Echoplex > Uni-Vibe > Fender Twin Reverb Silverface (all effects in front of the amp). Some post amp Hall reverb mixed in. Different pedals on/off depending on song and section.
VERY nice! Subscribed! I used to have a Dynacomp and just loved how this thing eats transients. Then got a Diamond Compressor, but for the last 5 years or so my main comp has been a Vahlbruch Quantum; a very quiet, transparent pedal that also offers a switchable parallel mode. Highly recommended.
Wonderful video, wonderful information, wonderful playing. I was in college when The Wall came out and was completely confused and obsessed by the guitar sound in Another Brick in the Wall. It’s nice to know wence it came.
Wrong and wrong.
MXR IS a SET of pedals.
1 pedal can't activate the famous vintage sound by MXR.
I’ve had a dyna comp for a while now without knowing what to do with it. Definitely have some ideas now!
It won't make the vintage sound by itself.
The final pedal must be the green carbon copy delay pedal.
If you don't use the SET of MXR pedals, you'll never hear the vintage sound designed by MXR.
Excellent. Reducing the gain level in the distortion fuzz overdrive pedal when using a compressor a very important rule. For A Holdsworth tone as well
Brilliant! There was a time when my only gain pedals were an MXR micro amp (too bright for me) and a Dyna comp. I ended up only using the Dyna comp and my volume knob for all my rhythm and soloing and honestly it was probably the best my tone ever was. I love the Dyna Comp but it’s so noisy. I wonder if the Script is less noisy but I am looking at a really nice upgrade to a Maxon CP9 instead. It’ll stack well with the Dyna Comp. now I have an OD808 and Proco Rat for distortion sounds. The compressor really evens the sustain out and actually sounds more natural than not using compression with dirt pedals.
Try placing your compression before your drive pedals- it reduces noise quite a bit because generally, that's where it's really coming from- the compressor is just doing its job and boosting that noise up where you can hear it now. Doesn't always work because sometimes the sound you want sort of requires you to put it after the drives but- if you can, it helps. I also just saw a compressor just a few days ago that was specially designed not to boost noise- but now I can't remember where I saw it. The guy was bragging about how Rick Beato had apparently gotten one and called him up to say it was the best compression pedal he had ever used. I'm sure you'll hear about it if you follow pedals- it just came out and from what I could gather was making a big impression on a lot of ppl. Good luck with it man, chasing noise in your signal chain can drive you batty.
Its not brilliant.
To activate the famous vintage sound by MXR you must buy and use the SET of pedals.
You're not allowed to use 1 pedal and get the famous vintage sound.
The micro amp pedal still requires the carbon copy delay pedal.
The dyna comp pedal requires the carbon copy delay pedal to complete the signal to make the vintage sound.
FACTORIES DON'T GET RICH SELLING 1 PEDAL TO THE POOR AND THRIFTY CLASS.
Wake-up guitarists!
You're not getting away with spending small amounts of money.
Too bright is an incomplete signal.
It requires further refinement from another MXR pedal.
@@dreyn7780 You have fever with these fits?
Hello Michael and thanks for video. Wondering how did you manage the noise of 3 compressors on a single coil guitar? Dyna comp itself generates a lot of noise!
You might have a bad cord.
When you kicked on the compressors before the fuzz that was the sound mate! ❤
To control where you hit the breaking point of tubes is very important, compression or limiting can help that along the way. I use the LA compressor in my Helix on all presets to smoothe the signal a little befor hitting the amps. In a traditional setting I've employed the Carl Martin limiter/compressor as a limiter to take the peaks of my rhythm playing while keeping the soft dynamics intact. It has worked very well in worship where it's place before my first drive, it's a beautiful thing!
In 1993 I bought the boss cs3. I thought it was the worst pedal ever especially as it was 350$ back then. I have only recently bought a cheap irin 20$ compressor for my bass rig. Never liked compression or noise gates. I do use a gate now and like to use a fuzz with heavy gating. Thank you for the video. Great demo ❤
Thank you this is a really interesting and useful and thought-provoking video never thought about stacked compression and regardless of what people say about it coming through a little iPad speaker. The whole point is to inspire you to get a couple of compressors and start experimenting for yourself ✊ so thank you. I’m about to go and do that now 👍
Excellent vid, thank you!
However, one KEY aspect when listening to comps in a clean sound settings is that the comp'd sound should be at the same level (sound pressure levels). Why is that? Because our ears are primed to Loud = "Better", in turn because, Fletcher-Munson (cue "loudness" controls on vintage hifi amplifier units).
So - when AB'ing the clean vs. comp sounds one should always match the volume of the two signals to get the best picture of what is happening and if the comp settings are correct in terms of squish / pump, fattening, release, etc
You have a new subscriber from this video. I am in the process of putting together pedalboard options and Gilmour is one of my favourite guitarists. Will definitely be adding an extra compressor or two now.
Welcome aboard! Have fun putting that new pedalboard together, hope this video helped a little. Thanks for commenting
Try the Boss CP1X.... well worth the price tag to replace the Dynacomp and CS3. I also have the Cali76 CD and used both for Gilmour stuff.
CP1X is very versatile, and the bonus IMO, is it preserves the Attack (double tracked Dry + Wet in Studio)... as long as you don't crank the controls.
Great video. Concise presentation. No BS. Well done, mate :)
Really interesting video, very well done. I’ve learned something thank you 👍
Love it. Straight to the point and very informative. Superb playing, too. Thanks, Michael!
Thanks! Probably the best demonstration to explain that Gilmore sound.
That's very kind! There are plenty of people who are far more knowledgeable than me about the exact gear that Gilmour used but I hope this video at least helps people learn some different ways of using compression. Thanks for commenting!
I record a lot and usually it's at least one compressor in the beginning of the signal chain, one at the end and then one on the master bus. So this makes a lot of sense 👍
Hey Michael I just started watching your videos and I think they are fantastic! As an almost intermediate guitarist with a boss RC 600 Im starting to get my head around the effects and came up with a really cool chorus sound after your boss chorus pedal comparison so cant wait to try this out on my rc 600 even though I don't have valve!
Great to hear you're enjoying the videos! More on the way
in case anybody was wondering both 'another brick in the wall part 2" and "something" (the beatles) are both commonly referred to as the ultimate examples of "the strat sound" when, in fact, both were played on les pauls.
I had 60's Tremolux as a teen (80's) with which I used a distortion pedal... I let a guy use it and he had a compressor which got it sounding its best ever. It was wild.
I really enjoy watching your videos! always very succinct and informative! :)
any possibility to make a video stacking overdrives with fuzz's pedals? it would be very neat!
Yes, great suggestion! I've actually got something similar on my list already so hopefully I'll be able to get that one done soon.
I am bedroom jammer, for me a compressor is a must! Along with small tube amps you can get a real satisfying 😌 sound!
Essentially, using multiple compressors in series, each set moderately grants all of the benefits of compression while avoiding the sonic anomalies that occur when using a single compressor at high settings.
I use a Cali 76 Deluxe and and an Xotic SP in series (one into the other), both at moderate settings. This way I get as much compression as I wan without it sounding a if I'm using a compressor. This method also permits sharp attack along with the compression if you want it.
Using compressors in series that utilize different methods of compression (the Cali 76 is a classic FET-style, and the Xotic SP is a Ross-style) increases the complexity of the sound in a very satisfying way.
Roger McGuinn pioneered this technique. It works nicely for him, it does for me, too, and it will for anyone who tries it.
Great video---awesome tones and a fantastic tutorial on how to achieve them, thanks!!
Now that last set up really brings something to the table. Thanks for the lesson!
My pleasure. Glad you're into that fuzzy glorious mess for the last setup, it was a lot of fun to play.
Awesome video. I haven’t ever bought a compressor because I use humbuckers but I definitely love the feel of natural amp compression. Thanks for this
hi question, but first great vid, thanks, v helpful. sounds great too, lovely tones and playing.
It seems like your board is running right to left? so you're putting your compressors before the fuzz and OD? Why is this? I'd think (but do not claim any expertise or authority) that you'd want distortion/OD before, so that they can react the most to your playing, giving more range to how much fuzz/OD based on how agressively one is playing/picking? Then compression after (which you might be able to go easier on, then), to rein in the stray dynamics left over?
Or is it better to put the compression first, then 'treat' it with the fuzz/OD.
I realize pedal ordering is part of the creative decision, like effect selection and settings, and it seemed like you're kinda specifically going for a David G type sound/approach (which gets pretty close to capturing it). So maybe he did it this way?
Great video! I like your energy. My only request would be a breakdown of your signal chain.
Good call! I'll put it in the description as well but it was CS-3 > Cali 76 > Dyna Comp > Big Muff > Tube Pilot > CE-2 > DD-8
@@MichaelBanfieldGuitar You're a gentleman and a scholar! Thank you!
Great video. Thanks for all your efforts
Impressive!!!! Best video of how to use a compressor, ever!!! Inside a chain, as it should be!!
Another thing you could try with the Big Muff is to put the overdrive before it - to my ears it doesn’t change the overall sound as much but it does tighten up the low end and the low mids.
I have a Boss CS-2, it's really special (and was on Gilmour's board in the 80s). They're not too hard to find, it's worth having one.
Ha you mention it at 4min ;-)
Deffo try the behringer comp based on the boss one in this vid if your still on the fence about getting a comp, great introduction to compressors.
Great video and wonderful playing!
Wrong johan.
1 MXR pedal can't activate the famous vintage sound by MXR.
The poverty-stricken class is using the wrong perspective on pedals.
Yes.....
I run a Cali 76 parallel to a Compadre. The both have a dry blend and with the midi presets the range of blends is huge and can still be subtle.
They're in a switcher so can stack them too... the Lowell George thing.
Sounds like a cool setup!
Sweet.
You mean the Paul Barrere (sp?) sound.
@@henrydiaz720 I've always associated the stacked compressor thing to Lowell's slide tone.
Seems pretty well documented.
Something i noticed with David on his leads he will sometimes use a tremolo bar to help complete his bends. In other words if it is a full Bend he will do 3/4s of it with fingers and the last 1/4 with pulling back on the trem bar.... its impressive that you can hit the notes without it but I imagine it may add more flavor with that technique no matter what David is the master
Actually, the way he sets up the tremolo on his Strats, the pitch can only be lowered. He has the bridge securely against the body so as to help facilitate tuning stability.
@@pauldemattia2419 really?! I'll have to go back and watch more then because I swear I saw him bend and pull up to finish it weird
@@pauldemattia2419 I just went and watched vids of comfortably numb live and marooned live and it looks like he uses it up and down..... where did you get the info he has it locked like van Halen? Even if he does though the miss interrupt of mine has helped me think of bends in different ways I guess
@@kapislap He varies a lot actually, his black strat went through an ungodly amount of changes from 1970 and onwards, I do believe the Pompeii recording of echoes shows he has it decked, for dark side I'm not sure, but performances during the 80's it looks like he has a floating bridge almost all of the time.
Just a note, he didn't use the Big Muff for the Time solo, he used an original fuzz face - the same one as Hendrix - into an already slightly driven amp.
Adding a Stereo ping pong Delay,with a suitable repeat time,is great
Hendrix fuzz faces were almost all modded though ( by roger Mayer).
He used the coloursound overdriver going into a silicon fuzz face 👍
And judging from live photos he runs the guitar into the colorsound first then the fuzz
Nice video. Breaking paradigms for everyone who doesn't like compression pedals
If I could only have one pedal, it would be the Boss CS-3. I love a standard Strat, and it is the biggest game changer in my gear in over 40 years.
Wow! I also never thought about stacking compressors. My first compressor was rat mount so that shows how long I've been playing about the compressors. Oh my gosh! I'm in the studio, home studio etc. And also use the compressor on base as well as electric and acoustic. I also like experimenting with different pedals between the compressors you have a you have a chain of different pedals between each compressor enjoy! I can't wait to see more of your videos. Wow! Fishes up and a whole New world for me. Wow! Thanks so much! Very much appreciated for this. Wow! Enjoy! Keep up on lovely work. Enjoy!
You can hear Boss CS1 in a lot of Santana wailing solos. He is well known for the long sustain last note in his phrasing.
Onstage, with everything turned up, who the hell is going to hear the difference!? Dyna comp does it all.
It's amazing how different this is from some other guitarists signal chains, for example Brian May.
Cool idea. I have a few affordable compressors.I love the Tone Corset by EHX and the Love Squeeze by Rothwell.
Thank you for posting this 👍👍
Very Interesting Video Thankyou. Highlights how vital Good Compressor is. Cheers
I’m really impressed how the guitar stayed in tune after those bends. Hahah
Subbed.. I've been trying to figure out if I should put my dyna comp before or after my opti (fwp I know) and there's only so much I can do on my own through experimentation. You just came out and said it, dyna after the other. Thank you Michael Banfield and thank you David Gilmour.. running a Walrus Audio Mira and a JAM Dyna-ssor. they sound great in either order but there's a certain clean I haven't been achieving by running the dyna first. Thanks for the vid..
If you’re trying to sound like a recorded tone it makes sense to do the stacked compression. Even if David only used one compressor pedal on a song, there’s going to be some compression from gain stages. The tape machine will add tape compression, in the tracking ,mixing and mastering stages of the record there would be compression used by the engineers.
Some of the tones on this video sound a little too compressed to my ears. But tone is subjective.
Overall cool video, I haven’t seen many people discussing stacked compression, and it’s a good conversation to have.
Great video and wonderful playing
I'm quite new to all this stuff so you are a fantastic help to me, thank you 👍
Amazing video! 👏