Yeah, just what I was thinkin. Picked one up on Ebay.. a Cmatmods comp. Thanks for the input, guys!

Bottom line: Hey, they're fun, and it's nice to catch a break once in a while.

Marty

Another thought: the consistency Greg mentioned will take some time to achieve (I certainly haven't). If it's getting in the way of your playing enjoyment, I suggest using a compressor and simply backing off the ratio over time. In other words, play with just enough compression to give you the dynamic consistency you desire then turn down the ratio a little. When you once again achieve the desired dynamic consistency, turn it down a little again. Eventually you'll get there.

I spent years playing with a lot of effects including a compressor. I sounded good when I played with my effects but when taken away my playing was uneven and crappy sounding.

When I started playing with out effects (other than a splash of reverb) I became a much better Stick player.

- David -

"Compressor? or more practice?"

I'm in the "both" camp. Squishy, Squishy.

I think that David brings up the sage wisdom I love effects and have been working hard at making my computer do wonders
through Abelton 7 and Logic . But just being able to simply plug in with a minimum
(the "minimum" tends to change ) not only makes you a better player and shows
you where your not. It also keys you into the fundamental of the song structure. So it makes you a better composer as well.

That is to say that I compress and then I decompress
jrj

SelfdestructingReconstructingPheonixMakesusStrongerEverydayBatmanComesOutOfHisCave

Speaking as an engineer, the compressor has a number of functions.

Clearly it makes loud stuff quiet and quiet stuff loud, and that helps a performer to achieve an even amplitude in his performance, but the question of dynamics is one that is often misrepresented. We apreciate dynamics more through timbre than we do through actual amplitude, a softly struck note sounds very different form one hit hard, a compressor won't affect those timbral changes, and we still hear the dynamics in the performance.

Most modern recordings have very limited dynamic range, but very wide tonal representation.

A compressor is also used, as noted, for effects. The massive sustain associated with rock guitar is achieved through compression from a unit or by overdriving an amp, same end result, different sound. All the great electric guitar performers understand compression as it relates to their performances.

From my viewpoint a compressor allows me to record a dynamic performance without worrying about clipping and associated input or media distortion, although I tend to use a limiter these days, it also allows me to precisely place an instrument in the mix knowing it'll stay put regardless of the amplitude of the performance. I can then use automation to recreate dynamics if required.

Solo performers would be much less likely to be heavily compressed, but in a production its a godsend.

I use a compressor on my bass (a dbx 160) and it's probably made me dynamically lazy, but I play rock and it suits the style. Don't be afraid of it, compression is your friend both live and in the studio, as it affords a measure of balance control that your style may mitigate against.

I bought the latest CD by Elbow (English 'indie' band...does indie exist anymore?)...and I noticed this logo:



Go here to read more about the 'loudness war': http://www.turnmeup.org/index.shtml

This debate continues in the recording industry, the A&R depts want LOUD, the musicians want dynamic, the public doesn't care and doesn't really understand the difference.

Rush's Vapor Trails album was a prime example of work ruined by overzealous compression (in this case in the mastering process).

The problem extends to cinema as well, trailers and adverts are routinely compressed to maximise output, films are dynamic and often begin quietly, an effect ruined by the screaming trailers that come before.... Film-makers are trying to get trailers and ads normalised to -20db so that films can regain their impact and not lose their dynamic range.

The sad fact is that the vast majority of recordings are undynamic, and the light and dark is serviced entirely with timbral shift.

Like all things, compressors are tools, both destructive and creative.

That's cool, glad to see the "Turn Me Up" thing is actually showing up on CD releases. Rolling Stone even had an article on the loudness problem recently (even if it oversimplified some issues it at least made the general music listening public aware of it).

Like many people have experienced, when I started practicing with just a high quality combo and a little reverb, my technique started to noticeably improve. Compression has some useful tone shaping features (speaking in terms of it's use as an instrument effect rather than a mixing/mastering tool) but by using it all the time it was masking my inability to really control dynamics, so it's gotten better since then.