I can't get over the quality and sheer production in your videos now, I'm absolutely loving it, especially when watching in 4K! You've come a long way from the first ever pedal board build "fail" as you named it, and these demos are simply amazing mate! Keep it up bro!
This is the best video I’ve found on explaining what each knob does on a compressor pedal. I know I’ve personally be confused many times with different comps, and what the knobs actually do.
One thing HP touched on, that the pedal gives a fatness or liveliness, is confusing but ultimately more right than wrong. There's a very common confusion between dynamics and volume. Simple example; find some recording of an orchestra going all out in the finale of some symphony. Great Gate Of Kiev, Beethoven's 9th Fourth Movement, whatever. Pump it into a quality stereo, as loud as you can stand to listen to it. Now turn it down. The orchestra's dynamic didn't change; you can tell that they're still playing forte ("strongly"). But you're hearing it quieter, because you turned down the volume. This is why the labeling of the span of non-silent dB SPL measurements in a recording as "dynamic range" is totally, utterly, pet-peevingly wrong. You can be quite "dynamic" in your playing with very high amounts of signal compression applied to reduce the volume difference between the loudest and quietest audible levels of a recording, and those dynamic differences are audible in ways other than the sound becoming louder or quieter. That's how the compressor gives you a "fatter, livelier" tone; the more aggressive technique gives a sharper attack, more midrangey growl, more string noise, etc. Normally, this highly aggressive playing comes with a side effect of louder volume, except the compressor is making it not loud. Just as a load box allows you to crank gain into higher levels of amp distortion to get those desirable tones out of high-wattage amps without the ear-splitting volume, compressors do the same thing father upstream, allowing you to get the desirable timbre of aggressive, forceful playing, without the accompanying volume increase. So your dynamics are unchanged, but your relative volume is adjusted to keep you in the mix.
If you use a DynaComp you probably have no use for a really great superior designed compressor. There is nothing better than this Keeley Pro sans maybe the Origin Effects comps. At any rate I have used pretty much every pedal compressor you can get. I thought to get the Origin Cali but this one intrigued me with the ability to see via LEDs the overall comp effect and just how much or little it is working. This is it. Can do anything you might need in regard to compression or limiting and not limited to just the guitar or bass. The auto release/attack is a jewel so easy to use no guess work how to adjust it and with the LEDs you can see exactly what it is doing. A superior design. Sort of like TS Overdrives just about everyone who has used or based the compressor circuit on the dated DynaComp/Ross design has moved way beyond the original in terms of circuit component quality,. headroom, noise floor and just over all functionality, no comparison, none at all. About like a Corvette and a Fiesta are both "cars". By the way Paul, more Kiana please, so nice to see a lovely girl putting up with all the guitar yada, a rare one. I loved it when she was sleeping in the background! Great job on all the demos/vids, quality stuff. And a nice laugh now and then as well.
RiffsNReviews if you haven’t picked one up yet it really is outstanding. I have it in my effects loop along with an NS-2 utilizing their effects loop. The combo sounds amazing, next is the keeley D&M drive, or the moog I can’t decide just yet
I doubt you need to worry about pedalsandeffects giving you any competition. There is barely any crossover in gear demoed or format. they usually have crazy pedals and try to get the most out there sounds out of them, you do the opposite.
Hi Henning, could you also recommend the Bogner Lyndhurst for Studio recording like the Keeley pro.... I need this pedal for Studio and Live performance ..many thanks and regards.....
You can really hear the comp breath on rests. Specifcally on the bass. In your opinion is this a noisey pedal say I wanted to use this as an aux send comp for a live/studio synth setup?
Sweet. Thanks for the prompt reply. Also may i suggest trying out pedals with synths too. Pick 3 or 4 very popular affordable synths and apply the pedal to them briefly. Might make some leaps in subs that way. Your channel is fantastically detailed. Thanks again from Toronto !
If you removed your entire person and character from this demo, this would be the best pedal demo on the internet. However, I'm stuck with catching short pieces of noodling between very dominant and terribly annoying nonsense. Meh.
Hallo mein Bester eine Frage habe ich Wenn du einen Compressor kaufen würdest....welchen würden Du mir empfehlen.......den Bogner Lyndhurst ..denn Du bereits erwähnt hast, dass die für die der copressor ist.... oder den Keeley compressor pro ?
Ich soll nach deiner persönlichen Meinung den Bogner Lyndhurst statt den Keely pro oder plus oder irgend einen anderen compressor kaufen richtig ?...nochmal Danke für deine Hilfe............und Zeit@@EytschPi42
Comparing this to a Dyna Comp or similar is quite absurd, about like a Ferrari to an Escort. Only thing that is better than this is Origin Effects Cali76. It's a whole another world from the old school one knob compressors, not everyone needs a compressor especially if you do not know how they work or how to use them. Nothing gets close to the quality of this unit or the Origin, nothing, much less an el cheapo one knob old circuit.
Really? You end the Video with "I've not been touched in many years?" :D Reminded me on a misheard Lyric on the last Dream Theater Album: "I came alone and then i farted" lol..... Nevertheless i wonder how this thing would sound on Vocals maybe in NY-Comp Setup.
The Ampete switchers include that functionality. The smaller ones can even switch fx loops around, for the big ones I guess that would take up to much space.
Of all the reviewers out there, you seem to be the only one who will offer likes and dislikes, and to not do so. (I would be amazed if a reviewer showed a complete absence of positive bias, and opine that they really dislike something -- maybe they tell a maker that they don’t want to review it for that reason). To never have dislikes - by implication says that everything is great which - if it is - then there is no point in reviews - a silly conclusion.
Your wrong your just using the wrong style of delay with the compressor not ever delay type sounds good with a compressor I use lock delay or mod delay or pingpong delay or the dynamic delay sound unbelievable
I can't get over the quality and sheer production in your videos now, I'm absolutely loving it, especially when watching in 4K! You've come a long way from the first ever pedal board build "fail" as you named it, and these demos are simply amazing mate! Keep it up bro!
This is the best video I’ve found on explaining what each knob does on a compressor pedal. I know I’ve personally be confused many times with different comps, and what the knobs actually do.
One thing HP touched on, that the pedal gives a fatness or liveliness, is confusing but ultimately more right than wrong. There's a very common confusion between dynamics and volume. Simple example; find some recording of an orchestra going all out in the finale of some symphony. Great Gate Of Kiev, Beethoven's 9th Fourth Movement, whatever. Pump it into a quality stereo, as loud as you can stand to listen to it. Now turn it down. The orchestra's dynamic didn't change; you can tell that they're still playing forte ("strongly"). But you're hearing it quieter, because you turned down the volume.
This is why the labeling of the span of non-silent dB SPL measurements in a recording as "dynamic range" is totally, utterly, pet-peevingly wrong. You can be quite "dynamic" in your playing with very high amounts of signal compression applied to reduce the volume difference between the loudest and quietest audible levels of a recording, and those dynamic differences are audible in ways other than the sound becoming louder or quieter. That's how the compressor gives you a "fatter, livelier" tone; the more aggressive technique gives a sharper attack, more midrangey growl, more string noise, etc. Normally, this highly aggressive playing comes with a side effect of louder volume, except the compressor is making it not loud. Just as a load box allows you to crank gain into higher levels of amp distortion to get those desirable tones out of high-wattage amps without the ear-splitting volume, compressors do the same thing father upstream, allowing you to get the desirable timbre of aggressive, forceful playing, without the accompanying volume increase. So your dynamics are unchanged, but your relative volume is adjusted to keep you in the mix.
Great demo, love your humour
This video is pure perfection - Thanks a lot!
I still use the Dyna Comp live on stage to this day... clean boost and sustain... but this Keeley is nice..
Also still using my 70's Dyna Comp... hasn't failed in 40+yrs; but maybe it's time for an upgrade. ;-)
If you use a DynaComp you probably have no use for a really great superior designed compressor. There is nothing better than this Keeley Pro sans maybe the Origin Effects comps. At any rate I have used pretty much every pedal compressor you can get. I thought to get the Origin Cali but this one intrigued me with the ability to see via LEDs the overall comp effect and just how much or little it is working. This is it. Can do anything you might need in regard to compression or limiting and not limited to just the guitar or bass. The auto release/attack is a jewel so easy to use no guess work how to adjust it and with the LEDs you can see exactly what it is doing. A superior design. Sort of like TS Overdrives just about everyone who has used or based the compressor circuit on the dated DynaComp/Ross design has moved way beyond the original in terms of circuit component quality,. headroom, noise floor and just over all functionality, no comparison, none at all. About like a Corvette and a Fiesta are both "cars". By the way Paul, more Kiana please, so nice to see a lovely girl putting up with all the guitar yada, a rare one. I loved it when she was sleeping in the background! Great job on all the demos/vids, quality stuff. And a nice laugh now and then as well.
I have to have this pedal, I NEED this pedal, my life depends on it ! lol
RiffsNReviews if you haven’t picked one up yet it really is outstanding. I have it in my effects loop along with an NS-2 utilizing their effects loop. The combo sounds amazing, next is the keeley D&M drive, or the moog I can’t decide just yet
I doubt you need to worry about pedalsandeffects giving you any competition. There is barely any crossover in gear demoed or format. they usually have crazy pedals and try to get the most out there sounds out of them, you do the opposite.
Hi Henning,
could you also recommend the Bogner Lyndhurst for Studio recording like the Keeley pro....
I need this pedal for Studio and Live performance ..many thanks and regards.....
Soweit ich versanden habe ist der Bogner Lyndhurst nach deiner persönlichen Meinung der Beste compressor ....
Should I go with this or the Keely compressor plus?
Herzlichen Dank Henning......ich soll also den Bogner Lyndhurst statt den Keeley Pro oder Plus kaufen richtig ?
Is there an interest to combine it with the compressor plus ?
WICH COMPRESSOR ARE BETTER ..THE KEELEY PRO OR THE BOGNER LYNDHURST ?
You can really hear the comp breath on rests. Specifcally on the bass. In your opinion is this a noisey pedal say I wanted to use this as an aux send comp for a live/studio synth setup?
No, I don't think it is noisy at all!
Sweet. Thanks for the prompt reply. Also may i suggest trying out pedals with synths too. Pick 3 or 4 very popular affordable synths and apply the pedal to them briefly. Might make some leaps in subs that way. Your channel is fantastically detailed. Thanks again from Toronto !
If you removed your entire person and character from this demo, this would be the best pedal demo on the internet. However, I'm stuck with catching short pieces of noodling between very dominant and terribly annoying nonsense. Meh.
Hallo mein Bester eine Frage habe ich
Wenn du einen Compressor kaufen würdest....welchen würden Du mir empfehlen.......den Bogner Lyndhurst ..denn Du bereits erwähnt hast, dass die für die der copressor ist....
oder den Keeley compressor pro ?
Für mich der Lyndhurst
Ich soll nach deiner persönlichen Meinung den Bogner Lyndhurst statt den Keely pro oder plus oder irgend einen anderen compressor kaufen richtig ?...nochmal Danke für deine Hilfe............und Zeit@@EytschPi42
Lyndhurst greift mehr ins Frequenzspektrum ein und hat den Sparkle Switch, der die Höhen nochmal boosted, was super für Clean ist.
Sandberg bass?
Is the switch on this pedal a "soft switch"? (not a loud hard click when pressed)
Morten O.T. It's a hard click
Ok, well I guess this pedal would just be set to always ON ;)
Comparing this to a Dyna Comp or similar is quite absurd, about like a Ferrari to an Escort. Only thing that is better than this is Origin Effects Cali76. It's a whole another world from the old school one knob compressors, not everyone needs a compressor especially if you do not know how they work or how to use them. Nothing gets close to the quality of this unit or the Origin, nothing, much less an el cheapo one knob old circuit.
Whenever you said "sustain knob" ... I was expecting a that's what she said....
I usually fail to hear the differences between hard and soft knee in compressors... good to see I am not alone :)
Has anyone ever try it with a 12string Rickenbacker
Really? You end the Video with "I've not been touched in many years?" :D Reminded me on a misheard Lyric on the last Dream Theater Album: "I came alone and then i farted" lol..... Nevertheless i wonder how this thing would sound on Vocals maybe in NY-Comp Setup.
Where's the generator 120 review!!?
Coming...
That's what she said?
EytschPi42 Sounds good. Unrelated question; do you have a system that routes your guitar signal to the inputs of each amp? Thanks!
The Ampete switchers include that functionality. The smaller ones can even switch fx loops around, for the big ones I guess that would take up to much space.
Todesnuss And here I thought it was just for the speaker outs. That's cool as hell. Thanks.
Leslie needs a "Really??" graphic...
Hubie Huempfner ...Really babe ???..with eyerolling emojoli (sp?) ..might be funnier. ...or not
Really???.. to be added to ... Really babe??... like.... "Really babe??.... Really???"
Hubie Huempfner ....nah....too many negatives...maybe a "OK4U Babe".. (with smiling winking emoji)....when he nails one...and he does often.
Of all the reviewers out there, you seem to be the only one who will offer likes and dislikes, and to not do so. (I would be amazed if a reviewer showed a complete absence of positive bias, and opine that they really dislike something -- maybe they tell a maker that they don’t want to review it for that reason). To never have dislikes - by implication says that everything is great which - if it is - then there is no point in reviews - a silly conclusion.
I have turned down many reviews because the products were too bad and I worked with the brand to make them better
@@EytschPi42 Thanks for saying. Appreciate that you do that.
You talk way to much
Do not
compresor plus don't mix well with delay. don't buy it
Your wrong your just using the wrong style of delay with the compressor not ever delay type sounds good with a compressor I use lock delay or mod delay or pingpong delay or the dynamic delay sound unbelievable