If you're new to compression, I wanted to point something out... I think by mistake, the first part of this video was a little bit misleading because Rick didn't talk specifically about the RATIO of compression on the pedal. So, keep in mind, while they were talking about the compressor pedal, they were actually talking about the compression as if it was "hard limiting" (i.e. infinity:1 ratio). When Rick said "If Rhett really kicks in really hard on it, it CAN'T get any louder than it is"... this is only true if the compressor is set all the way up to limiting (again, infinity:1), but the pedal was actually set to a 4:1 ratio... meaning it was just taming Rhett's playing when the lights came on. For every 4db above the threshold Rhett was playing, it would only let 1db of that volume be heard... so it's taming 75% of the volume above the threshold. That's what you're hearing in this part of the video: When the red lights are on during his playing, it's taming his playing by 75%... which is a lot, but you don't, "...completely lose all your dynamic control" as Rhett said... UNLESS it's set to limiting... which, again, they were not set to (look at the pedal, it's set to 4:1, not infinity:1). When a compressor is set to a more common compression setting (2:1, 4:1 etc.), you CAN retain a lot of the player's dynamics while just TAMING them to the degree that you want (by carefully choosing the ratio and the threshold settings). This is one of the many great things a compressor can do: rein in dynamics, rather than remove them (though that can be cool too, when you want that sound). Rick does know this... it was just an oversight... he gets deep into this concept in his other video (with the whiteboard), so make sure to check that out. So, just because you're compressor "gain reduction" lights are on, doesn't mean you've totally removed all dynamics... the other settings determine the degree of dynamic reduction/tone/snappiness/sustain/time-feel etc..... alright that's my lil PSA. I just don't want my good buddy Compression to get a bad name:)... because it's so often misunderstood (understandably!) and can be pretty hard to explain.
The compressor is like your mother lol THRESHOLD: The level she asks you to turn the music down RATIO : How much you turn down the volume after she shouts at you. ATTACK: How fast you react. RELEASE: How fast you turn the volume back up as soon as she closes the door.
Me, too. A series that presents the effects, how they work and what pros do to make them sound great. If you added practical examples (songs, licks) this would be a sure winner.
It still blows me away the amount of talent this man has. Your ear, your talent, your open mind, your brain and your love of music... just one of (if not the) greatest man music has seen for decades.
Compression has always been a tricky one for me, not the theory but training the ear to listen to the actual effects of a compressor. That is way I find this video so amazing!! Thanks a lot for sharing all this knowledge at this high quality level. Cheers from Italy 🇮🇹
It's great to use in front of a Twin Reverb to produced a saturated tone @ lower volumes, mimicking the tone you would get at higher volumes w/o it. I.E., tone simulation for loud clean amps.
I think I have to agree, but only because I can hear the difference between bypassed and not, but I don't understand what I am hearing. Rick may describe the sound as more "punchy", but often all I hear is "different". Looks like I need to learn to hear and understand what I am hearing.
@@loopie007 I totally understand what you mean. This is the same for me. But I've noticed, that little by little my ears are starting to "understand". This video is very helpful because it provides examples and "verbal" references such as "more punchy" so we can make the connection between the sound and the common terminology. Cheers
As a Bassist/musician for 40 years...I want to thank you, Rick, for what you do.....I am concerned that we are just getting lazy .....the tech has allowed it...and I loathe it! The older I get the more I appreciate older recordings...due to the fact that they had LESS technology helping them ! For me, less tech is more better ! Again, Rick you are priceless ! I soooo much appreciate what you do !
Pete Townshend- who has always used very little in the way of effects pedals- uses an MXR Dyna-comp as an overdrive pedal on stage for solos, replacing his previous Univox Super-Fuzz. There’s a usage you don’t hear much about.
You can definitely do that if the compressor pedal has a built in boost feature, and it will sound great. You can get very nice bluesy tones that way, with added sustain.
@@stefanhamilton8713 Yeah, unfortunately that can happen. Because by compressing the signal you're raising the quieter transients you're also raising the noise that comes with them. Optical compressors can be a lot quieter but you might also need a noise gate if you're using single coils with overdrive.
@@stefanhamilton8713 Dyna Comp with a Boss Noise Suppressor. Match made in heaven. I have them right after my Robin Trower set up, Clyde Deluxe, Deja Vibe, and Auto Wah, all made by Fulltone, and quite noisy, but the Dyna Comp and NS cleans them right up. Especially when playing really loud.
Great video, but my nitpick is the assertion (mostly from Rhett) that a compressor will squish all dynamics so it should only be used as an effect, rather than always on. A compressor *can* squish when set up to do so, and I acknowledge that there are some crappy comps that only know how to squish. OTOH, these days there are many great compressors -- even in pedal form -- that aren't binary. That is, they don't toggle between full squish and nothing, they will give you all points in between depending on how they are set. For those unfamiliar with attack/release/threshold, etc, the easiest way to get subtlety is from a compressor that has a dry mix control -- known as "parallel compression". I noticed that the Distressor plugin had this feature (though it was set to full wet). Parallel compression allows you to mix compressed and uncompressed signal within the same box, as opposed to setting up two channels, dry and compressed, in the studio. So, parallel is especially valuable for gigging musicians. Blending in uncompressed signal lets transients through to maintain great dynamics, but the compressed signal adds phatness and sustain. I'm a bassist and the last thing I want is too much squish. In fact I don't often use compression at the gig (it's a nice-to-have, not a must-have), but when I do, I use a quality compressor that gives me better presence in the onstage mix without hampering my dynamics. When I get the settings right the difference is indeed subtle, I can "feel" it more than "hear" it, but it's a noticeable improvement. I'm a semi-pro bassist, but I know some full pro guitarists who agree.
This is the kind of content that initially got me started on your videos. I love how everything comes full circle. Mind-blowing how there is more wisdom, intelligence and skill in Rick's pinky than most people have in their whole body a combined!
There is so much knowledge on this channel. I don't get a ton of time to practice but man, I've had so many questions answered here , sometimes things i didn't know i needed. I purchased the Beato Book and just wanted to say I'm grateful for the channel. Keep on Keepin on Rick.
I'm a big fan of using an EQ after a comp pedal for cleans with humbuckers to basically kill the mids while boosting treble/bass into a 50w EL34 head with Treb on 6, Mids on 9.8, and Bass on 7. Add a bit of modulation and you've got a surprisingly great clean tone into an amp that would prefer to be dirty.
Rick is such a great teacher. I feel like somehow the algorithm brings me to Rick and Rhett to increased my knowledge at the right peace! Before your videos, I was using BIAS FX but learning from you I have really taken the time with impulse responses and achieving better results!! So much support on youtube.
man I was so hung up on buying a new compressor but watching this vid kinda showed me that I don't really need it as much I thought I did. I love to roll off my vol for cleaning up my amp/ od pedals and I also have a habit of stacking gain pedals or putting gain pedals into my amp. Thank you so much for clearing this up. As rhett said, I also have a habit of running my amp on the edge of breakup just for having control. I'd defo get one later down the line because it's a great effect for clean sounds but it's not something I'd be losing sleep about.
I like this video - good balance of explanation demo without a bunch of fluff. I struggle to find a sweet spot for my compressor vs. if I really want it at all. I'm glad you covered the part about how it reduces the expression/attack by the right (strum) hand because a lot of other videos I watched don't seem to really cover that and I think it's a really important point.
Thanks you guys! Hardware Distressor is a great investment. It works great on vocals, bass & guitars. Vocals I crank the input into OPTO on the way in and it is very transparent and leveled in the mix without much else. Distressor is soft-knee so it looks like more gain reduction i than it sounds. I didn't want to buy two of them but I've process drums L & R separately and without any phase problems. The high pass and distortion modes are great for cutting off some peaks too. I think I will spend the money on an SSL buss compressor instead of a second disstressor.
I tend to go with the Trey Anastasio way of comp after dirt- that way you can use playing dynamics or guitar volume to clean up the signal coming out of the dirt pedal but retain the overall level hitting the amp.
I appreciate, Rick, that you still appreciate the music after all of these years. I hear about many professionals who "needed a break" and started pottery classes or getting and EMT certificate for ambulance ride alongs.
Yeah...no mr. Shull, just because you can use them that way it doesn't mean they can't be used as an always-on pedal. Try a strat with a loud, clean amp (preferably a blackface type amp) and a good compressor. Instant tonal bliss. It makes your strat tone sound like it's from a studio recording. Compressors (especially for single coils) can work like magic if you know how to use them and don't use high ratios and very fast attack/release. You can still keep almost all your dynamic range but they can make your notes fatter and have more sustain without overdrive. Compression is by far the most misunderstood and hard to use effect in terms of guitar pedals (compression is used everywhere in studio recordings). It really depends on the tone you are after and the type of music that you play, like every other effect really.
It has taken me many years to train my ear to hear what compressors do…As a younger musician using an MXR Dynacomp, I didn’t really get it, and didn’t really care for it. Now, I absolutely LOVE compression if dialed in right…BUT I like some compressors better than others for sure… I personally don’t care for the first 3 versions of the Boss compressor’s they made, BUT, Man o’ man, the latest Boss CP-1X, for my application’s.., work’s incredibly well, and imo eliminates the need for a tone and/or blend knob… Ive used the Keeley and its good. If I could afford it, I would have a Cali 76. Honestly, though I came so close to getting a Wampler EGO… but instead went with the 4th interation of the Boss, the CP-1X “multi band”… So glad I did, and I usually don’t care for digital circuits, but without going on & on about why I like it, besides it being easy to use & VERY quiet… It’s the only compressor that I can leave on most of the time because of its transparency and it is almost my secret weapon for great tone! I should mention that its also a forgiving compressor & is almost impossible to make sound bad. Boss knocked it outta da park with the CP-1X ❤
I have a fender mustang head which was drastically reduced online. I’m very happy with it, but it’s fairly clear that you can’t even scratch the surface of what it can do without knowing about basic effects and their use. The value of it is in being able to create presets with different signal paths, and using variety of effects. Like everything else patiently waiting in my basement at home, I need to put in some time. In the emulator world, getting familiar with the software, so I can put some more interesting things together, is really the key. Thanks for all this great content!!😬
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Another fantastic video on a super important topic, Rick! A hugely useful tool for the Guitarist, and an equally important point Rett made in mentioning that compression needs to be used correctly and is application-specific...it - will - destroy dynamics if used in the wrong situation. Particularly loved the demonstration with the Distressor plugin - you really nailed getting across, to those unaware, the effect on audio of varying those different dials. Kudos, Sir.
That's true. That's why I prefer optical compressors over any other type of compressor; because they behave like overdrive pedals but they don't actually distort the sound.
@@j_freed I have a custom made one, based on the Diamond Compressor. That's the one I'm using now. I also like the DOD 280 a lot. If you want more controls like attack and release you can go with the Orange Kongpressor. The Effectrode LA1A Leveling Amplifier is like my dream compressor. It runs on tubes, it's expensive, it's just ridiculous so it's better suited for the studio. It will give you a very old school kind of 60s type sound.
Love when the episodes are timely and linked to what I’m learning. Have not yet gotten into more gear, but I remember watching that first compression vid & being lost. Don’t feel as lost now!
I find an exception. If you use lots of amp pre-amp distortion, but no dirt pedals, you can play soft. Mark 5:25 dark, Glass compressor @4 to 1, maximum compression mix at 10 o’clock, it’s boosts the note, when it would normally fade, hammers pulloffs fabulous...
For guitar, reducing or essentially eliminating the transient (first hit of the note) is the key to what is called "violin sound". For recording sessions where you want the guitar track to be even, making mixing it much easier, compression is very useful. I use dual compressors, set moderately, and on all the time. I've never experienced any kind of expression deficit. To each his/her own.
@@747Durango No, it's not a stereo thing. Using two compressors permits you to set each one slightly less aggressively so that the uncompressed sound is moderately compressed by the first one and that compressed sound is sent to a second moderately set compressor. The resulting effect is similar (but much better IMO) to one compressor set aggressively, but by utilizing, this method you can get a nicely compressed sound while avoiding many, if not all of the following problems associated with compression: BTW, I first learned about this from Roger McGuinn who showed and explained it to me, so I'm happy to pass this information along. There are few anomalies to look out for and avoid when using compression at any stage of recording or live playing. One is a shift in timbre. This is not the same as note shifting. The EQ of the instrument under compression may be altered in a way you might not desire if the compression is too powerful. A dulling of the upper-mids is common in this instance. Also, too aggressive single compression can cause a "pumping" or "breathing" effect in the track. This can be a good thing as on Hendrix's "Purple Haze" where the guitar seems to be rhythmically blooming and relaxing as he plays, but this is not an easy thing to accomplish intentionally or live. It sometimes doesn't work as you might have it. However, mostly this is something to avoid as it can badly smear a track or a live guitar and it feels pretty damn' strange to the player. Compression can level the dynamic range of an instrument so that those little bits of louder and quieter expressive moments are diminished or disappear. This may be a good thing or not depending upon what you want the track to sound like. In a basic rhythm track, for instance, it's probably better to somewhat level the dynamic range somewhat to keep it even and easily mixable. However, as I said before, sometimes a bit of dynamic expression is a good thing. One size never fits all. The most common problem associated with compression is the reduction or elimination of the transient, the first sound heard, the first hit of the note. Good studio-quality compressors can be set to avoid this but many compressor pedals are not as subtle or versatile. It's a fine line. A feature to look for in a good compressor pedal is the ability to mix the dry and compressed signal. Very few have this. Using this feature properly enables the transient to remain audible while compressing the following sound. Many guitarists who are not familiar with compressors have come to grief when trying to use them and have come to "hate" them. It takes some time and understanding to get them to do what you want them to do (if you know what you want them to do, that is), but it's worth it. I have my two compressors, an Origin Effects Cali 76 Deluxe (not the stacked dual one) with wet/dry control into an Xotic SP compressor which does not have this control, on all the time. Each is set moderately and because they use different compression methods and produce different EQs the combined sound works very well. Either one alone would be very good and set properly could do the job, but together - magic. I hope I've explained this clearly. Good luck.
Rick, do you have an intern program? You are a god in the industry! This content gives my life purpose. I decided not to follow my passion in music because my parents and church members felt there was no future in music. Thank you so much for the motivational tutorials every week! They inspire me to chase my dreams! Thanks Rick and the Beato team!
Great information here. I actually use an Xotic SP comp “always on” with my rig. It’s set very low with a medium attack and long release time. It’s perfect for the Worship genre. I’m so used to it I don’t even know it’s there and gives me so much sustain, which is the whole reason I want it anyway. My point is that it’s somewhat genre dependent and pedal dependent. Some are squishy and some, especially studio or optical style, work well for maintaining dynamics.
Keep this type of videos coming. I have been thinking of compressors as a fix for bad amp settings. In one week, I have learned what I have been doing wrong in my amp settings from Rhett's video and now I see what a compressor really does.
It's hard to find videos on youtube that do a great job explaining compression, and how to hear it. Rick you have some of the best. Some more stuff on plugins and how to use compression during mixing would be very popular. Congrats on your 2 million subscribers!
Compressor before the amp: To help with techniques like tapping, where it is hard to maintain volume. Compressor after the amp: To control drive by volume without being lost in the mix when clean. First option I rarely use, second I really like. Kemper compression in amp section does exactly this. Couldn't play without especially live.
They're nice on sub-mixes. For example if you have a drumkit mic'ed with 4 or 5 mics they can help balance the different mics and different drum's volumes in real time. etc.
@@j_freed yes it does. You need to be careful it doesn't eat up all the bottom of your bass tho. May have to activate the side chain circuit of the compressor if necessary
I've just started looking down the pedal rabbit hole and trying to wrap my head around it all. My understanding of the always on compressor was to improve sustain. You turn up the blend and use a wider threshold than used in this video to maintain volume range/dynamics.
Comment for the algorithm! That said, back when I was in a gigging bar band (avocational) we had a compressor on the PA between the mixer and amp. The downside to that setup is that our lead guitarist and bass player didn't want to use the PA for their rigs in small venues, and since I was the lead singer, I was getting squashed in the sound when they turned up. So I disconnected the PA compression and just used proximity to the mic for vocal volume control. Guitar players! Can't live with them, but certainly can't without them! (Well, actually I also played cowboy chords on a semblance of rhythm as well.)
Funny thing about Rhett’s funky rhythm playing: that’s the scenario I always have my compressor on. But in this video, I like the sound of the compressor off rather than on. I agree with Rick regarding the sound with compressor. Still I enjoy the sound without the compressor. I don’t know if it’s the amp or guitar that makes the difference (I really think it’s the player).
I understand the basic principles of a compressor, what it does, and how to use it. My question is what are the major differences from compressor to compressor, what makes one compressor better than another? I hear people swear by certain compressors, but it seems like, in theory, we are only affecting the volume of a particular sound, so shouldn't they all work more or less the same?
@@dulistanheman my only guess is that some may deteriorate the quality of the output signal more than others. Although in my experience with different compressors, they all seem to have no audible difference.
I wish it were that simple, but there are more variables at play. Each compressor imparts a different sound to the track. An 1176 breaks up different than a 2A when you hit the circuit hard. Another thing is the knee, or how fast a compressor kicks in when the threshold is crossed. This is different from attack. Think about attack as “when to turn on a light switch”. If it’s a strict on/off, that’s a “hard knee”. If it’s a dimmer switch, that’s a “soft knee”. Hard knee might be better for in-your-face compression, and soft knee might be better for smoother compression. If I was doing an EDM mix, I might want something very clean with a hard knee to really slam down on the transients without changing the sound. (Perhaps a VCA-style) If I was doing a soul vocal, I might want a bit of vibe from the saturation and a softer knee for a smooth sound. (LA-2A, TubeTech CL-1B) If I was doing intense drums, I might want something aggressive and colored. (1176, Distressor)
I used compression to keep the volumes of my guitars the same when I was playing in bands. I used single coils, passive hums, and active hums and switched guitars on the regular. I added another just for sustain later on. Knowing when to (and when not to) use compression is key.
Rick, you are the man, you play every instrument great. Also, I am very sorry that your Aunt passed, I see where you got a lot of your talent and big ears for hearing everything. She is such a sweet lady and I'm very sorry for your loss. Your son is also very talented, I know that you are very proud. Stay safe and have a Happy New Year. So glad you do what you do, thanks. Rick Camp Memphis, TN. 😊
This vid was interesting in regard to a “standard” compressor having controls similar to a rack mount or plugin design. But most guitar pedals don’t have those controls. The pedal used in the video is the first one I have ever seen with threshold, ratio, etc. I’d like to see a similar video using a typical compressor pedal that has controls such as sensitivity or drive, volume, attack, and tone. Does turning the attack knob increase or decrease the attack time? How do the sensitivity and volume knobs interact? I can properly adjust a traditional compressor but typical pedal controls always seem to interact in ways that aren’t easy to understand.
Okay this is one of the best vids for learning about compression. Thank you for actually compressing the sound. Some videos do like 2 db of compression and for beginners with untrained ears it’s almost useless
Great one, again, Rick. I agree, in the relation to the guitar, the main reason, for me, to use a compressor is with either a cleaner sound and when tapping (clean or not)...
I agree with Rhett I don't like compression in my guitar signal regularly but after recording you made the individual guitar track fill out very nicely. However I'm not sure if that will sound better in a mix. I like the "punchy" aspect but not so much the bass addition, again it would be nice to see the "post" compression in the context of a mix. Thanks so much for your effort.
I typically use lower wattage amps so live compressors never really did it for me. I also like 50s wiring on my guitars so on a 335, for example, you can roll the volume way back on the bridge pup and get this dry/bright sound that works really well for staccato funky parts. Now, in the studio, very different story. I think I almost always have a distressor or UA distressor plugin running post amp, that helps everything sit and catches the guitar the right way. Great vid
Great instructional on how to use compression with guitar and drums. I've always just gone with the " sound of the moment " whether it be live or studio for decades. Now I know I didn't know why, but I know how.
Rick - this is brilliantly informative video. The examples comparing the sound while switching between compression on and off are invaluable to someone like me trying to really train their ear to this stuff. Thank you! More of the same with other effects please! PS Saw your show in London. Great stuff!
Understanding dynamic range is a key to understanding dynamic effects vs graphic effects. Compression alters dynamic range, for guitar I always liked the DBX “over easy” compression curve and usually applied it if something needed more presence in the mix..
A guy I used to play with in the late 70s used an MXR Dyna-Comp compressor as an overdrive pedal. I never really understood the concept, but it worked for him.
Been playing guitar for 25 years.. always struggled with understanding proper compression use.. i basically just looked at it as "this will make the guitar come through more in the mix" but never really understood transients, attack and release and still really get confused by ratio but that Distressor helped it make a bit more sense. Ive been thinking of adding a Fender The Bends pedal or a Dyna Comp or one of the MXR comp pedals.. I think I agree that leaving compression on ALL THE TIME for guitar probably isnt best..
I am sorry to disagree but Rhett you can not say that "with an always on compressor, you are eliminating that level of expression (the one achieved with your hand, your attack on the strings)". I've got a Thorpy Fx Fat General as an always on effect at the very beginning of my signal chain before overdrives and modulations. It is thickening my sound but it is not killing my dynamics. I'm set on the edge of breakup on my amp and I play very expressively with the volume knob of my guitar or my attack on the strings. And it works perfectly. On the contrary, I do not have the same fun nor can I achieve the same feeling without that compressor always engaged. I don't know, maybe it's that this compressor is really good but it doesn't produce what you describe as a "dynamics killer".
Every time I see these videos, I can't help but think that some bored high school student is going to absorb everything you've got on here and then go on to define the next generation of music
I’m glad to see you used a properly featured compressor pedal for the pedal demo instead of one of those two-knob, ‘compressors for dummies’ pedals. 👍🏻
Not to scold, but what gets *called* "Attack" on many pedals that lack the more granular Attack *and* Release controls is NOT what you've described as attack. Rather, such controls actually adjust the *gain recovery* time. Fender was probably the first, and maybe only, company to call that control what it actually is/does, on their The Bends compressor pedal. But why is it *called* "Attack"? You ask a good question, grasshopper. For starters, I suppose "Attack" just sounds sexier to the less-informed consumer/user. But more importantly, when a compressor ratchets down the gain, in response to a sudden pick attack, it can "recover" quickly and bring that gain back up in time for the next pick attack, or it can take a longer time and the gain is reduced for a while. The end result is that the pick attack for subsequent quickly played notes tends to be missed if the gain-recovery time is slow. But here's the twist. The impact of gain-recovery time on the audibility of pick attack will depend on how much space you leave between notes. A slow gain-recovery, as on the original Dynacomp, will have an imperceptible impact on pick attack if you're Paul Kossoff or Angus Young, but it *will* have an audible impact if you're Brad Paisley or Albert Lee. People who don't understand this aspect will twiddle the knob and assume it doesn't really "do" anything. More modern compressor pedals will include a "Blend" control that allows for mixing in some uncompressed sound, such that pick attack is always introduced, regardless of how quickly or slowly the gain on the compressed side is being restored. For me, there are two principle uses of compression. One is to avoid unplanned volume outbursts in a gigging context if playing while singing or backing up a singer. The other is to "unyoke" timbre from volume. In other words, you can make the string behave differently by your pick attack, but you don't HAVE to have the accompanying volume change. This is one of the best tools for funk guitarists striving to get a percussive sound in their rhythm playing without sudden volume outbursts.
Yes good idea for us NUGS... this would be a good idea for a series.... what do these things do for live and for tracking. I love my vocal compression ....
If y'all cant hear the difference you have a lot of ear training to do before your gonna be half decent engineer, its an incredibly clear description w examples
Love the Keeley Compressor Pro for my pedal board. Like the Fabfilter compressor for mix bus plugin. And the Warm Audio WA2A for hardware compressor for live tracking. Great video, thanks.
Thank you for this video, Rick. I’ve never used compression pedals (I prefer to always have that dynamic range, even when playing heavier music). But I’m wanting to get a bit more sustain out of one particular guitar and thinking a compressor may help.
Very helpful video. Some compressors have a blend control so you can mix in your (more dynamic) dry signal with the compressed signal and get the compression but still have good dynamics. Thinking about getting a Wampler Ego mini that has a blend.
Oh, man. I just spotted the Ensoniq DP4 in your rack! In the early 90's my rig was a Mesa-Boogie Studio Pre with a DP4 in the loop into a stereo amp (Mosvalve, by Tubeworks: but I did have access to a Mesa 50/50 and did use it some). I could route that DP4 for a dry through while having stereo for the fx. That unit is fantastic.
Nice! I love the videos where you incorporate the DAW. I too would love to see a series where you go over your favorite plugins/settings/signal chains. I'm still in the trial and error phase of trying to figure out which ones to use and which order to put them in so I think more videos like this one would help me flatten that learning curve! Thanks for all you do Rick!
This would be an excellent series for musicians. THE biggest obstacle I had (still have) is understanding how these different pedals affect your sound so you know what you want/need to develop your own flavor of tone.
I love to use a keeley 4 knob compressor with a very slow attack, it gives body to the sound but retaining the dynamics, also i love to use a klon style overdrive before the comp cause it saturates wonderfully
I have a fairly old Keeley C4 and it sounds chalky compared to the Boss CP-1X I had that was more juicy. The Keely is kind of a different beast than your typical compressor. I feel like it's more like an enveloper. Just IMO, because I don't really know for sure.
Even after using compression for a while, I feel like the effect sometimes eludes me. it's always good to come back and learn a bit more because there's just a little bit more knowledge to bring to my mix.
Thanks, Rick! I've been tasked with writing a song in locrian this week and was hoping to give it something interesting by dabbling in Funk. I'll definitely use the compressor for the guitar bit! Honestly, the timing of this video could not have been more perfect!! If anyone has any tips on how to write funk please do let me know.
3:35 So true. IMO it goes to show that compression is a great tool for recording, so as to later mix the track with studio help. But for live playing, it takes the feel away.
I posted: "The take-away being what I've always known. Compressors destroy a guitar players ability to play dynamically. Got it. Gee where can I get one?!?" LOL I have several Alesis rack compressors in the sound rack
@@russellnotestine6436 My apologies, but it is hard to tell if you are being sarcastic or serious. Sarcasm in comments is not easy for the reader to comprehend.
@@DJ.LakeSea No no no I DO want to play as dynamically as I can. Compressors on a single instrument limit the musician's ability to play dynamically. Compressors squash dynamics.. Compressors are useful to balance mixes and sub-mixes.. I don't and will never believe they should be put on a single instrument... EXCEPT for VERY unique musical circumstances.
nice follow video to the broader compression video :) of course, not helping my gear lust but yea the part where you used the Distressor plugin was my favorite in the video, just really really helps (plus I've got one as the main vocal compressor in my studio so I can relate to it)
Rick, watched you tonight on your live stream wondering why this video didn't do as well as expected. This is the first I've seen it on my feed. Didn't get a notification. Might not have anything to do with the title, but some of the suggestions were hilarious. All the best.
Great demo guys! I personally never dug a compressor tones with humbuckers only on single coil. A whole other world when it comes to mixing of course. Thank you 🙏
I bought a JHS compressor from the new white budget range, and I've gotta say, it's the effect pedal I didn't know I needed til I got it. A lot of my playing is in that jangly Johnny Marr, James Honeyman-Scott, Roger McGuinn vein, so with a nice slow rate chorus effect, it's magic for that chimy Rickenbacker 12-string effect. I'm careful to keep the compression (especially the attack) very subtle though, otherwise I start to enter into 1980's 'Time After Time', 'Purple Rain', 'Run to You' , 'Echo Beach', Toto, Styx, territory. If I wanted that, I'd buy me a Tom Scholz 'Rockman' unit.
I have to say I prefer having an always on compressor for playing live. While it does reduce my dynamic range, I actually appreciate that in a live situation. It allows the intricacies of my playing to come out that otherwise would not be heard in the mix but it also tames my sound when I am digging and showing off. I play and gig with a country rock band within which I usually have to control where I am in the mix for a good majority of my gigs and need that range to not be super huge. Not saying there is a right or wrong but just my preference.
Seems weird to me when guitar players say compression takes dynamics out of your playing, but then they use distortion and compress the signal and talk about how godlike the tone and feel of an overdriven amp is. The same player often has reverb and/or delay on all the time, but will remark that compression is "an effect that shouldn't be always on." I don't know man, I rarely use delay or reverb but I love having some compression on. There's a sound for everyone.
Well, the compression of distortion actually made some sense to me, at last.. No wonder every touch of a string or on neck or guitar is heard.. Meanwhile, we turn the volume / level up until our ears bleed.😁🍻
I sometimes like to use a compressor _after_ all the "input" effects like overdrive/distortion, wah, tremolo. Set the knobs right and it can simulate the natural sag of a cranking tube amp, especially one with a tube rectifier.
Thanks so much Rick, I've always struggled to get my head around compressors. I've tried them to even out volume jumps between my clean sound and drive pedals, but then found the drive pedals lose some personality. You've explained it nicely and practically, looking forward to having a play
If you're new to compression, I wanted to point something out... I think by mistake, the first part of this video was a little bit misleading because Rick didn't talk specifically about the RATIO of compression on the pedal. So, keep in mind, while they were talking about the compressor pedal, they were actually talking about the compression as if it was "hard limiting" (i.e. infinity:1 ratio). When Rick said "If Rhett really kicks in really hard on it, it CAN'T get any louder than it is"... this is only true if the compressor is set all the way up to limiting (again, infinity:1), but the pedal was actually set to a 4:1 ratio... meaning it was just taming Rhett's playing when the lights came on. For every 4db above the threshold Rhett was playing, it would only let 1db of that volume be heard... so it's taming 75% of the volume above the threshold. That's what you're hearing in this part of the video: When the red lights are on during his playing, it's taming his playing by 75%... which is a lot, but you don't, "...completely lose all your dynamic control" as Rhett said... UNLESS it's set to limiting... which, again, they were not set to (look at the pedal, it's set to 4:1, not infinity:1).
When a compressor is set to a more common compression setting (2:1, 4:1 etc.), you CAN retain a lot of the player's dynamics while just TAMING them to the degree that you want (by carefully choosing the ratio and the threshold settings). This is one of the many great things a compressor can do: rein in dynamics, rather than remove them (though that can be cool too, when you want that sound).
Rick does know this... it was just an oversight... he gets deep into this concept in his other video (with the whiteboard), so make sure to check that out.
So, just because you're compressor "gain reduction" lights are on, doesn't mean you've totally removed all dynamics... the other settings determine the degree of dynamic reduction/tone/snappiness/sustain/time-feel etc..... alright that's my lil PSA. I just don't want my good buddy Compression to get a bad name:)... because it's so often misunderstood (understandably!) and can be pretty hard to explain.
The compressor is like your mother lol
THRESHOLD: The level she asks you to turn the music down
RATIO : How much you turn down the volume after she shouts at you.
ATTACK: How fast you react.
RELEASE: How fast you turn the volume back up as soon as she closes the door.
Compressor explained in the best way lol
@@UMANGPLAYS hahahahaha
@DiscoFalcon hahahahaha
This is truly excellent.
@@steved2112 hahahahaha
I'd love to see this as a series, there is plenty of effects you could always do.
Also something about chaining effects properly.
Me, too. A series that presents the effects, how they work and what pros do to make them sound great. If you added practical examples (songs, licks) this would be a sure winner.
Yeh Rick. Forget the beach! Get back in front of that camera and give the people what they want! ;)
I agree 100% that would make for some useful content
P
I am 44 years old and been playing guitar for 30 of those years,never understood compressors untill today.Thank you Rick and Rhett
It still blows me away the amount of talent this man has. Your ear, your talent, your open mind, your brain and your love of music... just one of (if not the) greatest man music has seen for decades.
Settle down Skooter
Compression has always been a tricky one for me, not the theory but training the ear to listen to the actual effects of a compressor. That is way I find this video so amazing!! Thanks a lot for sharing all this knowledge at this high quality level. Cheers from Italy 🇮🇹
It's great to use in front of a Twin Reverb to produced a saturated tone @ lower volumes, mimicking the tone you would get at higher volumes w/o it. I.E., tone simulation for loud clean amps.
I think I have to agree, but only because I can hear the difference between bypassed and not, but I don't understand what I am hearing. Rick may describe the sound as more "punchy", but often all I hear is "different". Looks like I need to learn to hear and understand what I am hearing.
@@loopie007 I totally understand what you mean. This is the same for me. But I've noticed, that little by little my ears are starting to "understand". This video is very helpful because it provides examples and "verbal" references such as "more punchy" so we can make the connection between the sound and the common terminology.
Cheers
I like it when Rick dresses like your uncle who is meeting you out for lunch.
I wish Rick was my uncle and would take me to lunch lol
he would be my favorite uncle for sure! Let's go grab some burgers and talk about compression.
@@rockboy360 That would work for me too.
While still adhering to the David Gilmour/Ricky Gervais/Simon Cowell/Me dress code!
As a Bassist/musician for 40 years...I want to thank you, Rick, for what you do.....I am concerned that we are just getting lazy .....the tech has allowed it...and I loathe it! The older I get the more I appreciate older recordings...due to the fact that they had LESS technology helping them ! For me, less tech is more better ! Again, Rick you are priceless ! I soooo much appreciate what you do !
RettShull is the pronunciation of a word in Turkish which has the meaning "Jam".
Jam to eat or food jam?
@@kjsdestin or the verb? "he jam the plug into the socket," LOL
Right... No peanut butter Pearl jam sandwiches.
Pete Townshend- who has always used very little in the way of effects pedals- uses an MXR Dyna-comp as an overdrive pedal on stage for solos, replacing his previous Univox Super-Fuzz. There’s a usage you don’t hear much about.
You can definitely do that if the compressor pedal has a built in boost feature, and it will sound great. You can get very nice bluesy tones that way, with added sustain.
I tried that as I’m a huge Townshend, but man, it was SO noisy
@@stefanhamilton8713 Yeah, unfortunately that can happen. Because by compressing the signal you're raising the quieter transients you're also raising the noise that comes with them. Optical compressors can be a lot quieter but you might also need a noise gate if you're using single coils with overdrive.
@@stefanhamilton8713 Dyna Comp with a Boss Noise Suppressor. Match made in heaven. I have them right after my Robin Trower set up, Clyde Deluxe, Deja Vibe, and Auto Wah, all made by Fulltone, and quite noisy, but the Dyna Comp and NS cleans them right up. Especially when playing really loud.
Great video, but my nitpick is the assertion (mostly from Rhett) that a compressor will squish all dynamics so it should only be used as an effect, rather than always on. A compressor *can* squish when set up to do so, and I acknowledge that there are some crappy comps that only know how to squish. OTOH, these days there are many great compressors -- even in pedal form -- that aren't binary. That is, they don't toggle between full squish and nothing, they will give you all points in between depending on how they are set. For those unfamiliar with attack/release/threshold, etc, the easiest way to get subtlety is from a compressor that has a dry mix control -- known as "parallel compression". I noticed that the Distressor plugin had this feature (though it was set to full wet). Parallel compression allows you to mix compressed and uncompressed signal within the same box, as opposed to setting up two channels, dry and compressed, in the studio. So, parallel is especially valuable for gigging musicians. Blending in uncompressed signal lets transients through to maintain great dynamics, but the compressed signal adds phatness and sustain. I'm a bassist and the last thing I want is too much squish. In fact I don't often use compression at the gig (it's a nice-to-have, not a must-have), but when I do, I use a quality compressor that gives me better presence in the onstage mix without hampering my dynamics. When I get the settings right the difference is indeed subtle, I can "feel" it more than "hear" it, but it's a noticeable improvement. I'm a semi-pro bassist, but I know some full pro guitarists who agree.
This is the kind of content that initially got me started on your videos. I love how everything comes full circle. Mind-blowing how there is more wisdom, intelligence and skill in Rick's pinky than most people have in their whole body a combined!
There is so much knowledge on this channel. I don't get a ton of time to practice but man, I've had so many questions answered here , sometimes things i didn't know i needed. I purchased the Beato Book and just wanted to say I'm grateful for the channel. Keep on Keepin on Rick.
I'm a big fan of using an EQ after a comp pedal for cleans with humbuckers to basically kill the mids while boosting treble/bass into a 50w EL34 head with Treb on 6, Mids on 9.8, and Bass on 7.
Add a bit of modulation and you've got a surprisingly great clean tone into an amp that would prefer to be dirty.
Rick is such a great teacher. I feel like somehow the algorithm brings me to Rick and Rhett to increased my knowledge at the right peace! Before your videos, I was using BIAS FX but learning from you I have really taken the time with impulse responses and achieving better results!! So much support on youtube.
You should subscribe and seize your destiny from the algorithm.
man I was so hung up on buying a new compressor but watching this vid kinda showed me that I don't really need it as much I thought I did. I love to roll off my vol for cleaning up my amp/ od pedals and I also have a habit of stacking gain pedals or putting gain pedals into my amp. Thank you so much for clearing this up. As rhett said, I also have a habit of running my amp on the edge of breakup just for having control. I'd defo get one later down the line because it's a great effect for clean sounds but it's not something I'd be losing sleep about.
I like this video - good balance of explanation demo without a bunch of fluff. I struggle to find a sweet spot for my compressor vs. if I really want it at all. I'm glad you covered the part about how it reduces the expression/attack by the right (strum) hand because a lot of other videos I watched don't seem to really cover that and I think it's a really important point.
Thanks you guys! Hardware Distressor is a great investment. It works great on vocals, bass & guitars. Vocals I crank the input into OPTO on the way in and it is very transparent and leveled in the mix without much else. Distressor is soft-knee so it looks like more gain reduction i than it sounds. I didn't want to buy two of them but I've process drums L & R separately and without any phase problems. The high pass and distortion modes are great for cutting off some peaks too. I think I will spend the money on an SSL buss compressor instead of a second disstressor.
I tend to go with the Trey Anastasio way of comp after dirt- that way you can use playing dynamics or guitar volume to clean up the signal coming out of the dirt pedal but retain the overall level hitting the amp.
This changed the perspective for good...awsome
I appreciate, Rick, that you still appreciate the music after all of these years. I hear about many professionals who "needed a break" and started pottery classes or getting and EMT certificate for ambulance ride alongs.
Yeah...no mr. Shull, just because you can use them that way it doesn't mean they can't be used as an always-on pedal. Try a strat with a loud, clean amp (preferably a blackface type amp) and a good compressor. Instant tonal bliss. It makes your strat tone sound like it's from a studio recording. Compressors (especially for single coils) can work like magic if you know how to use them and don't use high ratios and very fast attack/release. You can still keep almost all your dynamic range but they can make your notes fatter and have more sustain without overdrive. Compression is by far the most misunderstood and hard to use effect in terms of guitar pedals (compression is used everywhere in studio recordings). It really depends on the tone you are after and the type of music that you play, like every other effect really.
I love the different ways compression is used across genres.
It has taken me many years to train my ear to hear what compressors do…As a younger musician using an MXR Dynacomp, I didn’t really get it, and didn’t really care for it.
Now, I absolutely LOVE compression if dialed in right…BUT I like some compressors better than others for sure… I personally don’t care for the first 3 versions of the Boss compressor’s they made, BUT, Man o’ man, the latest Boss CP-1X, for my application’s.., work’s incredibly well, and imo eliminates the need for a tone and/or blend knob…
Ive used the Keeley and its good. If I could afford it, I would have a Cali 76. Honestly, though I came so close to getting a Wampler EGO… but instead went with the 4th interation of the Boss, the CP-1X “multi band”… So glad I did, and I usually don’t care for digital circuits, but without going on & on about why I like it, besides it being easy to use & VERY quiet…
It’s the only compressor that I can leave on most of the time because of its transparency and it is almost my secret weapon for great tone! I should mention that its also a forgiving compressor & is almost impossible to make sound bad.
Boss knocked it outta da park with the CP-1X ❤
I like coming back to compression videos!
I have a fender mustang head which was drastically reduced online. I’m very happy with it, but it’s fairly clear that you can’t even scratch the surface of what it can do without knowing about basic effects and their use. The value of it is in being able to create presets with different signal paths, and using variety of effects. Like everything else patiently waiting in my basement at home, I need to put in some time. In the emulator world, getting familiar with the software, so I can put some more interesting things together, is really the key. Thanks for all this great content!!😬
Another fantastic video on a super important topic, Rick!
A hugely useful tool for the Guitarist, and an equally important point Rett made in mentioning that compression needs to be used correctly and is application-specific...it - will - destroy dynamics if used in the wrong situation. Particularly loved the demonstration with the Distressor plugin - you really nailed getting across, to those unaware, the effect on audio of varying those different dials. Kudos, Sir.
"Compressors are the overdrives of your clean sounds", Daniel Steinhardt, That Pedal Show.
That's true. That's why I prefer optical compressors over any other type of compressor; because they behave like overdrive pedals but they don't actually distort the sound.
@@j_freed I have a custom made one, based on the Diamond Compressor. That's the one I'm using now. I also like the DOD 280 a lot. If you want more controls like attack and release you can go with the Orange Kongpressor. The Effectrode LA1A Leveling Amplifier is like my dream compressor. It runs on tubes, it's expensive, it's just ridiculous so it's better suited for the studio. It will give you a very old school kind of 60s type sound.
Takes an AUSSIE!
@Chad Sexington Sure. Depending on the setup you can use it like that.
Now I understand many things... Damn
simple and practical....thanx, guys... (love the quote i heard recently that, "compressors are the overdrive pedal for your clean sound..."...
Love when the episodes are timely and linked to what I’m learning. Have not yet gotten into more gear, but I remember watching that first compression vid & being lost. Don’t feel as lost now!
I find an exception. If you use lots of amp pre-amp distortion, but no dirt pedals, you can play soft.
Mark 5:25 dark, Glass compressor @4 to 1, maximum compression
mix at 10 o’clock, it’s boosts the note, when it would normally fade, hammers pulloffs fabulous...
For guitar, reducing or essentially eliminating the transient (first hit of the note) is the key to what is called "violin sound".
For recording sessions where you want the guitar track to be even, making mixing it much easier, compression is very useful. I use dual compressors, set moderately, and on all the time. I've never experienced any kind of expression deficit. To each his/her own.
May I ask why you use dual compressors? I hear that a lot. L&R?
@@747Durango No, it's not a stereo thing. Using two compressors permits you to set each one slightly less aggressively so that the uncompressed sound is moderately compressed by the first one and that compressed sound is sent to a second moderately set compressor. The resulting effect is similar (but much better IMO) to one compressor set aggressively, but by utilizing, this method you can get a nicely compressed sound while avoiding many, if not all of the following problems associated with compression:
BTW, I first learned about this from Roger McGuinn who showed and explained it to me, so I'm happy to pass this information along.
There are few anomalies to look out for and avoid when using compression at any stage of recording or live playing. One is a shift in timbre. This is not the same as note shifting. The EQ of the instrument under compression may be altered in a way you might not desire if the compression is too powerful. A dulling of the upper-mids is common in this instance.
Also, too aggressive single compression can cause a "pumping" or "breathing" effect in the track. This can be a good thing as on Hendrix's "Purple Haze" where the guitar seems to be rhythmically blooming and relaxing as he plays, but this is not an easy thing to accomplish intentionally or live. It sometimes doesn't work as you might have it. However, mostly this is something to avoid as it can badly smear a track or a live guitar and it feels pretty damn' strange to the player.
Compression can level the dynamic range of an instrument so that those little bits of louder and quieter expressive moments are diminished or disappear. This may be a good thing or not depending upon what you want the track to sound like. In a basic rhythm track, for instance, it's probably better to somewhat level the dynamic range somewhat to keep it even and easily mixable. However, as I said before, sometimes a bit of dynamic expression is a good thing. One size never fits all.
The most common problem associated with compression is the reduction or elimination of the transient, the first sound heard, the first hit of the note. Good studio-quality compressors can be set to avoid this but many compressor pedals are not as subtle or versatile. It's a fine line. A feature to look for in a good compressor pedal is the ability to mix the dry and compressed signal. Very few have this. Using this feature properly enables the transient to remain audible while compressing the following sound.
Many guitarists who are not familiar with compressors have come to grief when trying to use them and have come to "hate" them. It takes some time and understanding to get them to do what you want them to do (if you know what you want them to do, that is), but it's worth it.
I have my two compressors, an Origin Effects Cali 76 Deluxe (not the stacked dual one) with wet/dry control into an Xotic SP compressor which does not have this control, on all the time. Each is set moderately and because they use different compression methods and produce different EQs the combined sound works very well. Either one alone would be very good and set properly could do the job, but together - magic.
I hope I've explained this clearly. Good luck.
Rick, do you have an intern program? You are a god in the industry! This content gives my life purpose. I decided not to follow my passion in music because my parents and church members felt there was no future in music. Thank you so much for the motivational tutorials every week! They inspire me to chase my dreams! Thanks Rick and the Beato team!
Great information here. I actually use an Xotic SP comp “always on” with my rig. It’s set very low with a medium attack and long release time. It’s perfect for the Worship genre. I’m so used to it I don’t even know it’s there and gives me so much sustain, which is the whole reason I want it anyway. My point is that it’s somewhat genre dependent and pedal dependent. Some are squishy and some, especially studio or optical style, work well for maintaining dynamics.
Keep this type of videos coming. I have been thinking of compressors as a fix for bad amp settings. In one week, I have learned what I have been doing wrong in my amp settings from Rhett's video and now I see what a compressor really does.
It's hard to find videos on youtube that do a great job explaining compression, and how to hear it. Rick you have some of the best. Some more stuff on plugins and how to use compression during mixing would be very popular. Congrats on your 2 million subscribers!
Compressor before the amp: To help with techniques like tapping, where it is hard to maintain volume.
Compressor after the amp: To control drive by volume without being lost in the mix when clean.
First option I rarely use, second I really like. Kemper compression in amp section does exactly this. Couldn't play without especially live.
A compressor helps create density in a sound (a single track) or a mix (group of tracks)
They're nice on sub-mixes. For example if you have a drumkit mic'ed with 4 or 5 mics they can help balance the different mics and different drum's volumes in real time. etc.
Russell Notestine in this case, it helps also evening out the tone of each hit to make it a consistent performance
@@j_freed yes it does. You need to be careful it doesn't eat up all the bottom of your bass tho. May have to activate the side chain circuit of the compressor if necessary
Some weirdness going on with the stereo field. My right speaker comes on randomly in this video.
Same here
That’s because I’m going from the direct audio to the room mic. We are standing apart and being recorded with the stereo mic
@@RickBeato duh
@@RickBeato Thanks, I was afraid my expensive ear buds were crapping out. 🤓🎸
Here as well.
I've just started looking down the pedal rabbit hole and trying to wrap my head around it all. My understanding of the always on compressor was to improve sustain. You turn up the blend and use a wider threshold than used in this video to maintain volume range/dynamics.
Years ago (80 ?) , guy LS 6 and a BF BassMan 50 rig (4 10, angled baffles). Pedal was a DynaComp. Sounded great. That's it.
I would to see a video like this from Rick on Noise Gates.
JHS would probably say: "More low is more off." ;-)
YES!! That would be a great video!
Comment for the algorithm! That said, back when I was in a gigging bar band (avocational) we had a compressor on the PA between the mixer and amp. The downside to that setup is that our lead guitarist and bass player didn't want to use the PA for their rigs in small venues, and since I was the lead singer, I was getting squashed in the sound when they turned up. So I disconnected the PA compression and just used proximity to the mic for vocal volume control. Guitar players! Can't live with them, but certainly can't without them! (Well, actually I also played cowboy chords on a semblance of rhythm as well.)
Finally a proper demonstration of how compressor (outboard) can affect the guitar sound. Great vid guys.
Funny thing about Rhett’s funky rhythm playing: that’s the scenario I always have my compressor on. But in this video, I like the sound of the compressor off rather than on. I agree with Rick regarding the sound with compressor. Still I enjoy the sound without the compressor. I don’t know if it’s the amp or guitar that makes the difference (I really think it’s the player).
I understand the basic principles of a compressor, what it does, and how to use it. My question is what are the major differences from compressor to compressor, what makes one compressor better than another? I hear people swear by certain compressors, but it seems like, in theory, we are only affecting the volume of a particular sound, so shouldn't they all work more or less the same?
My guess it's like different brand of compressor using different code (if VST's).
Someone else can probably give better answers.
@@dulistanheman my only guess is that some may deteriorate the quality of the output signal more than others. Although in my experience with different compressors, they all seem to have no audible difference.
I wish it were that simple, but there are more variables at play. Each compressor imparts a different sound to the track. An 1176 breaks up different than a 2A when you hit the circuit hard.
Another thing is the knee, or how fast a compressor kicks in when the threshold is crossed. This is different from attack. Think about attack as “when to turn on a light switch”. If it’s a strict on/off, that’s a “hard knee”. If it’s a dimmer switch, that’s a “soft knee”. Hard knee might be better for in-your-face compression, and soft knee might be better for smoother compression.
If I was doing an EDM mix, I might want something very clean with a hard knee to really slam down on the transients without changing the sound. (Perhaps a VCA-style)
If I was doing a soul vocal, I might want a bit of vibe from the saturation and a softer knee for a smooth sound. (LA-2A, TubeTech CL-1B)
If I was doing intense drums, I might want something aggressive and colored. (1176, Distressor)
@@bennycole1257 great explanation, thanks!
Pretty cool that Rick parked the tractor for an hour to drop this great video on us.
Rick Beato, sharing your wisdom is a service for mankind, thank you so much!
I used compression to keep the volumes of my guitars the same when I was playing in bands. I used single coils, passive hums, and active hums and switched guitars on the regular. I added another just for sustain later on. Knowing when to (and when not to) use compression is key.
Rick, you are the man, you play every instrument great. Also, I am very sorry that your Aunt passed, I see where you got a lot of your talent and big ears for hearing everything. She is such a sweet lady and I'm very sorry for your loss. Your son is also very talented, I know that you are very proud. Stay safe and have a Happy New Year. So glad you do what you do, thanks.
Rick Camp Memphis, TN. 😊
This vid was interesting in regard to a “standard” compressor having controls similar to a rack mount or plugin design. But most guitar pedals don’t have those controls. The pedal used in the video is the first one I have ever seen with threshold, ratio, etc. I’d like to see a similar video using a typical compressor pedal that has controls such as sensitivity or drive, volume, attack, and tone. Does turning the attack knob increase or decrease the attack time? How do the sensitivity and volume knobs interact? I can properly adjust a traditional compressor but typical pedal controls always seem to interact in ways that aren’t easy to understand.
Okay this is one of the best vids for learning about compression. Thank you for actually compressing the sound. Some videos do like 2 db of compression and for beginners with untrained ears it’s almost useless
Great one, again, Rick. I agree, in the relation to the guitar, the main reason, for me, to use a compressor is with either a cleaner sound and when tapping (clean or not)...
The compressor with the distortion is more focused.. that funk sound is amazing too 🎸. Soo much information on this channel.
I agree with Rhett I don't like compression in my guitar signal regularly but after recording you made the individual guitar track fill out very nicely. However I'm not sure if that will sound better in a mix. I like the "punchy" aspect but not so much the bass addition, again it would be nice to see the "post" compression in the context of a mix. Thanks so much for your effort.
I typically use lower wattage amps so live compressors never really did it for me. I also like 50s wiring on my guitars so on a 335, for example, you can roll the volume way back on the bridge pup and get this dry/bright sound that works really well for staccato funky parts. Now, in the studio, very different story. I think I almost always have a distressor or UA distressor plugin running post amp, that helps everything sit and catches the guitar the right way. Great vid
Now I get it. Thank you. I would have called it "normalizing volume", but of course "amplitude" is better than "volume" in context.
Rick, hands-down one of the best channels on TH-cam! Almost at the 2M mark and deservedly so! Thank you so much, I'm such a big, big fan!
Great instructional on how to use compression with guitar and drums.
I've always just gone with the " sound of the moment " whether it be live or studio for decades. Now I know I didn't know why, but I know how.
Rick - this is brilliantly informative video. The examples comparing the sound while switching between compression on and off are invaluable to someone like me trying to really train their ear to this stuff. Thank you! More of the same with other effects please! PS Saw your show in London. Great stuff!
THANK YOU exactly what i was looking for - good for legato bad for chugs and dynamics -question answered
Understanding dynamic range is a key to understanding dynamic effects vs graphic effects. Compression alters dynamic range, for guitar I always liked the DBX “over easy” compression curve and usually applied it if something needed more presence in the mix..
Man, I really want to see Rick on a That Pedal Show episode. Great video btw
A guy I used to play with in the late 70s used an MXR Dyna-Comp compressor as an overdrive pedal. I never really understood the concept, but it worked for him.
Been playing guitar for 25 years.. always struggled with understanding proper compression use.. i basically just looked at it as "this will make the guitar come through more in the mix" but never really understood transients, attack and release and still really get confused by ratio but that Distressor helped it make a bit more sense. Ive been thinking of adding a Fender The Bends pedal or a Dyna Comp or one of the MXR comp pedals.. I think I agree that leaving compression on ALL THE TIME for guitar probably isnt best..
I don't know how to thank u so much for everything I have learn this year watching the most interesting videos
We love u RICK BEATO💛
I am sorry to disagree but Rhett you can not say that "with an always on compressor, you are eliminating that level of expression (the one achieved with your hand, your attack on the strings)". I've got a Thorpy Fx Fat General as an always on effect at the very beginning of my signal chain before overdrives and modulations. It is thickening my sound but it is not killing my dynamics. I'm set on the edge of breakup on my amp and I play very expressively with the volume knob of my guitar or my attack on the strings. And it works perfectly. On the contrary, I do not have the same fun nor can I achieve the same feeling without that compressor always engaged. I don't know, maybe it's that this compressor is really good but it doesn't produce what you describe as a "dynamics killer".
Every time I see these videos, I can't help but think that some bored high school student is going to absorb everything you've got on here and then go on to define the next generation of music
I’m glad to see you used a properly featured compressor pedal for the pedal demo instead of one of those two-knob, ‘compressors for dummies’ pedals. 👍🏻
Not to scold, but what gets *called* "Attack" on many pedals that lack the more granular Attack *and* Release controls is NOT what you've described as attack. Rather, such controls actually adjust the *gain recovery* time. Fender was probably the first, and maybe only, company to call that control what it actually is/does, on their The Bends compressor pedal.
But why is it *called* "Attack"? You ask a good question, grasshopper. For starters, I suppose "Attack" just sounds sexier to the less-informed consumer/user. But more importantly, when a compressor ratchets down the gain, in response to a sudden pick attack, it can "recover" quickly and bring that gain back up in time for the next pick attack, or it can take a longer time and the gain is reduced for a while. The end result is that the pick attack for subsequent quickly played notes tends to be missed if the gain-recovery time is slow.
But here's the twist. The impact of gain-recovery time on the audibility of pick attack will depend on how much space you leave between notes. A slow gain-recovery, as on the original Dynacomp, will have an imperceptible impact on pick attack if you're Paul Kossoff or Angus Young, but it *will* have an audible impact if you're Brad Paisley or Albert Lee. People who don't understand this aspect will twiddle the knob and assume it doesn't really "do" anything.
More modern compressor pedals will include a "Blend" control that allows for mixing in some uncompressed sound, such that pick attack is always introduced, regardless of how quickly or slowly the gain on the compressed side is being restored.
For me, there are two principle uses of compression. One is to avoid unplanned volume outbursts in a gigging context if playing while singing or backing up a singer. The other is to "unyoke" timbre from volume. In other words, you can make the string behave differently by your pick attack, but you don't HAVE to have the accompanying volume change. This is one of the best tools for funk guitarists striving to get a percussive sound in their rhythm playing without sudden volume outbursts.
I really appreciate this video because it's reinforcing that i already know this stuff.
Yes good idea for us NUGS... this would be a good idea for a series.... what do these things do for live and for tracking.
I love my vocal compression ....
This video could be a year long and I still wouldn’t understand compressors.
🤣😂🤣😂
If it’s too hard, i can’t understand it!!
Agree 100 percent Adonal!
LMAO same. I cant' hear a difference
If y'all cant hear the difference you have a lot of ear training to do before your gonna be half decent engineer, its an incredibly clear description w examples
Love the Keeley Compressor Pro for my pedal board. Like the Fabfilter compressor for mix bus plugin. And the Warm Audio WA2A for hardware compressor for live tracking. Great video, thanks.
Thank you for this video, Rick. I’ve never used compression pedals (I prefer to always have that dynamic range, even when playing heavier music). But I’m wanting to get a bit more sustain out of one particular guitar and thinking a compressor may help.
Squeeze the signal always have used it in my chain to tighten the dynamic sound Rick is incredible in the music world great job
I love that mustard jacket Rick is wearing. Very stylish!
Wow. This really helped a sax player understand compression better as I learn to be a guitarist. Thank you, as always, for truly great work.
Very helpful video. Some compressors have a blend control so you can mix in your (more dynamic) dry signal with the compressed signal and get the compression but still have good dynamics. Thinking about getting a Wampler Ego mini that has a blend.
Off topic, but that Les Paul is gorgeous.
And it sounds ridiculously awesome through that klone.
Oh, man. I just spotted the Ensoniq DP4 in your rack! In the early 90's my rig was a Mesa-Boogie Studio Pre with a DP4 in the loop into a stereo amp (Mosvalve, by Tubeworks: but I did have access to a Mesa 50/50 and did use it some). I could route that DP4 for a dry through while having stereo for the fx. That unit is fantastic.
Nice! I love the videos where you incorporate the DAW. I too would love to see a series where you go over your favorite plugins/settings/signal chains. I'm still in the trial and error phase of trying to figure out which ones to use and which order to put them in so I think more videos like this one would help me flatten that learning curve! Thanks for all you do Rick!
This would be an excellent series for musicians. THE biggest obstacle I had (still have) is understanding how these different pedals affect your sound so you know what you want/need to develop your own flavor of tone.
I love to use a keeley 4 knob compressor with a very slow attack, it gives body to the sound but retaining the dynamics, also i love to use a klon style overdrive before the comp cause it saturates wonderfully
I have a fairly old Keeley C4 and it sounds chalky compared to the Boss CP-1X I had that was more juicy. The Keely is kind of a different beast than your typical compressor. I feel like it's more like an enveloper. Just IMO, because I don't really know for sure.
*Tegeler Audio Manufaktur!!* Nice to see you using these excellent outboard compressors from my home country Germany!!
I love my Keeley Compressor+!!! I LOVE squishy triads especially with a little debut of chorus for that 1975 tone.
Even after using compression for a while, I feel like the effect sometimes eludes me. it's always good to come back and learn a bit more because there's just a little bit more knowledge to bring to my mix.
Thanks, Rick! I've been tasked with writing a song in locrian this week and was hoping to give it something interesting by dabbling in Funk. I'll definitely use the compressor for the guitar bit! Honestly, the timing of this video could not have been more perfect!! If anyone has any tips on how to write funk please do let me know.
3:35 So true. IMO it goes to show that compression is a great tool for recording, so as to later mix the track with studio help. But for live playing, it takes the feel away.
I posted: "The take-away being what I've always known. Compressors destroy a guitar players ability to play dynamically. Got it. Gee where can I get one?!?" LOL I have several Alesis rack compressors in the sound rack
@@russellnotestine6436 My apologies, but it is hard to tell if you are being sarcastic or serious. Sarcasm in comments is not easy for the reader to comprehend.
@@DJ.LakeSea Nope. Zero sarcasm in my post. It may be unclear what I was trying to say. But I wasn't being sarcastic
@@russellnotestine6436 So you're saying that you don't want to play dynamically?
@@DJ.LakeSea No no no I DO want to play as dynamically as I can. Compressors on a single instrument limit the musician's ability to play dynamically. Compressors squash dynamics.. Compressors are useful to balance mixes and sub-mixes.. I don't and will never believe they should be put on a single instrument... EXCEPT for VERY unique musical circumstances.
nice follow video to the broader compression video :)
of course, not helping my gear lust but yea
the part where you used the Distressor plugin was my favorite in the video, just really really helps
(plus I've got one as the main vocal compressor in my studio so I can relate to it)
Rick, watched you tonight on your live stream wondering why this video didn't do as well as expected. This is the first I've seen it on my feed. Didn't get a notification. Might not have anything to do with the title, but some of the suggestions were hilarious. All the best.
Great demo guys! I personally never dug a compressor tones with humbuckers only on single coil. A whole other world when it comes to mixing of course. Thank you 🙏
Timely video! I just bought a pedal compressor yesterday
I bought a JHS compressor from the new white budget range, and I've gotta say, it's the effect pedal I didn't know I needed til I got it. A lot of my playing is in that jangly Johnny Marr, James Honeyman-Scott, Roger McGuinn vein, so with a nice slow rate chorus effect, it's magic for that chimy Rickenbacker 12-string effect.
I'm careful to keep the compression (especially the attack) very subtle though, otherwise I start to enter into 1980's 'Time After Time', 'Purple Rain', 'Run to You' , 'Echo Beach', Toto, Styx, territory. If I wanted that, I'd buy me a Tom Scholz 'Rockman' unit.
I have to say I prefer having an always on compressor for playing live. While it does reduce my dynamic range, I actually appreciate that in a live situation. It allows the intricacies of my playing to come out that otherwise would not be heard in the mix but it also tames my sound when I am digging and showing off. I play and gig with a country rock band within which I usually have to control where I am in the mix for a good majority of my gigs and need that range to not be super huge. Not saying there is a right or wrong but just my preference.
Yes, I like to have a compression when I play live as well.
Seems weird to me when guitar players say compression takes dynamics out of your playing, but then they use distortion and compress the signal and talk about how godlike the tone and feel of an overdriven amp is. The same player often has reverb and/or delay on all the time, but will remark that compression is "an effect that shouldn't be always on." I don't know man, I rarely use delay or reverb but I love having some compression on. There's a sound for everyone.
Or it’s the “guitar straight into the amp guy” saying “ I can do that with the tone knob on my guitar”. Compressors are great tools.
Well, the compression of distortion actually made some sense to me, at last..
No wonder every touch of a string or on neck or guitar is heard..
Meanwhile, we turn the volume / level up until our ears bleed.😁🍻
I'm calling it
2 million subscribers before the end of november!
Thanks Rick for the constant stream of great content!
Yes, do a series on affects. Guitar pedals.
Effects.
Lol, can't believe I made that mistake. Made while mobile.
I sometimes like to use a compressor _after_ all the "input" effects like overdrive/distortion, wah, tremolo. Set the knobs right and it can simulate the natural sag of a cranking tube amp, especially one with a tube rectifier.
Thanks so much Rick, I've always struggled to get my head around compressors. I've tried them to even out volume jumps between my clean sound and drive pedals, but then found the drive pedals lose some personality.
You've explained it nicely and practically, looking forward to having a play