Compressor Types - Which do you prefer?

#21
If they have an LA2A in the studio I always try to use it.

As far as live the MXR M87 pedal is it for me, which is based off the LA2A if I am not mistaken.

I've owned it 3x and I am never selling it again.

It is a great transparent pedal based compressor / limiter.
 
#24
blindrabbit said:
Frank, forgive my ignorance, but when you are talking about those distortions in the side chain control circuit, would that be only in comps like your OptiFet that have a "side-chain" in them?
Click to expand...

Every comp has a side-chain. The side-chain is the control circuitry that uses the audio signal to generate a control signal for compression. If the side-chain uses the audio signal before the "comp" circuitry it is called feed forward, if the side-chain uses the audio signal after the "comp" circuitry it is then called feed back.

Any audio signal that bleeds thru on the side-chain control voltage will cause a multiplier distortion effect on the compressed audio signal (this happens in every type of compressor). This distortion is harmonically 'in-tune' with the input audio, so it mostly sounds pleasing. Optical, just by their nature, filters some of the higher frequency audio bleed thru that may be present on the side-chain control voltage and the result is small harmonic audio distortions in low and mid frequencies.

One of the biggest contributors to these comps that have this distortions/character, is the old electrolytic caps that are still in place in these older units side-chains. Even when these caps were new, their ESR (equivalent series resistance) values kinda sucked compared to what we have today. So, even back in the 60's and 70's, new units would have more of these distortions than a vintage unit that has been re-capped with modern electro caps of today. There are ways to re-cap and preserve that vintage tonal magic, but the technician would have to be aware and know what to do.

-Frank
 
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#25
boomertech said:
Every comp has a side-chain. The side-chain is the control circuitry that uses the audio signal to generate a control signal for compression. If the side-chain uses the audio signal before the "comp" circuitry it is called feed forward, if the side-chain uses the audio signal after the "comp" circuitry it is then called feed back.

Any audio signal that bleeds thru on the side-chain control voltage will cause a multiplier distortion effect on the compressed audio signal (this happens in every type of compressor). This distortion is harmonically 'in-tune' with the input audio, so it mostly sounds pleasing. Optical, just by their nature, filters some of the higher frequency audio bleed thru that may be present on the side-chain control voltage and the result is small harmonic audio distortions in low and mid frequencies.

One of the biggest contributors to these comps that have this distortions/character, is the old electrolytic caps that are still in place in these older units side-chains. Even when these caps were new, their ESR (equivalent series resistance) values kinda sucked compared to what we have today. So, even back in the 60's and 70's, new units would have more of these distortions than a vintage unit that has been re-capped with modern electro caps of today. There are ways to re-cap and preserve that vintage tonal magic, but the technician would have to be aware and know what to do.

-Frank
Click to expand...

Thank you Frank, that makes sense. :)
 
#26
I've used an OTA (Joyo Dyna) and it was decent especially for what it was. I also briefly had a JFET (Fairfield Accountant) which I dug but ultimately that particular pedal suit my needs and now I'm using the MXR M87 which if I'm not mistaken is a VCA and find that it's sound suits what I'm doing better. I am however intrigued but Optical for the reasons mentioned above. Probably why I got on the waiting list for the FEA OptiFet!
 
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#27
The thing about optical is it's very transparent. If that's a plus for you try it out. Me personally, I like when I can hear what the compressor is doing, almost like an effect. You'll never get that country Telecaster quacky sound out of an LA2A, because they are by design really good leveling compressors..too good in this case. If you want to hear the compressor you need something that just smashes peaks and adds some weird distortion artifacts and really grab the transients. Some compressor really emphasize that and it's very percussive which sounds awesome for ghost and muted notes.
 
#28
Well. I´m not an expert. But from my experience using a few of compressor of the market I have always felt more at ease when I realize that the compressors that I using they respecte totally my bass´ sound. I have in mind that I don´t wanna adding some extra color when I apply the compression, so it means that I don´t need for instead increasing a tad the lows or the low mids for get an extra punch, or increasing a bit the highs for get more presence for the bass sound. I can understand that some bassist friends of mine they expect "hearing" the compression as an strong effect for how it sounds, so probably they want that their compression they add an extra color to their sounds (EBS, MarkBass, TRex Squeezer, Diamond...,) that does the job well done too.

I ever looked for transparency. I could be wrong too but I suppose that I´m a guy of VCA´s. Judging by my ears by the way my fave is the Aguilar TLC. The MXR Bass Compressor is a killing thing too, maybe a little different in the high end, but I think it's not that far from Aggie in the type of compression. And curiosly I have an old Boss LM-2 that I like it too.
 
#30
so, I like an optical if I want ridiculous sustain, but don't always like what it does to the tone, so I go for an FET compressor if I want a gritty coloration but true tone, most of the time I go for the FET because I like how it grabs and I like that little growl and its on my flyrig.
 
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#31
some optical comps if you crank them up, say the sustain up you can get a little growl, now an FET there a lot more growlly from my experience, that's not to say all FET's are like that, or even all opticals as I explained, these have just ben my experiences, hope this helps a little bit.
blindrabbit said:
Frank, forgive my ignorance, but when you are talking about those distortions in the side chain control circuit, would that be only in comps like your OptiFet that have a "side-chain" in them?
Click to expand...
 
#32
ok I didn't know that, so an FET causes more feedback than an optical generally? that's my experience if I understand you correctly, my FET has more of a growl to it, way more than the optical I have, I like the FET's quick time and grab and its growl, its growl is somewhere between the low mids and high mids, that's my guess anyway and it thickens up the sound with the growl but doesn't change my tone but ads to it, my optical when pushed growls also but not in the same way, it also changes my tone, though that's the circuitry and its doing as designed.
boomertech said:
Every comp has a side-chain. The side-chain is the control circuitry that uses the audio signal to generate a control signal for compression. If the side-chain uses the audio signal before the "comp" circuitry it is called feed forward, if the side-chain uses the audio signal after the "comp" circuitry it is then called feed back.

Any audio signal that bleeds thru on the side-chain control voltage will cause a multiplier distortion effect on the compressed audio signal (this happens in every type of compressor). This distortion is harmonically 'in-tune' with the input audio, so it mostly sounds pleasing. Optical, just by their nature, filters some of the higher frequency audio bleed thru that may be present on the side-chain control voltage and the result is small harmonic audio distortions in low and mid frequencies.

One of the biggest contributors to these comps that have this distortions/character, is the old electrolytic caps that are still in place in these older units side-chains. Even when these caps were new, their ESR (equivalent series resistance) values kinda sucked compared to what we have today. So, even back in the 60's and 70's, new units would have more of these distortions than a vintage unit that has been re-capped with modern electro caps of today. There are ways to re-cap and preserve that vintage tonal magic, but the technician would have to be aware and know what to do.

-Frank
Click to expand...
 
#33
A forum question like this that is very open and wide ranging is going to get wide and varied responses. Some guys on here are professional audio engineers who happen to play bass. Some are skilled and experienced audio designers who design top end compressors for picky or discerning customers. Others are gigging bassists who have a "keep it simple but make a great sound" attitude. Some others are home noodlers / recordists who want more control than a Nasa space programme. Neither is right or wrong, just a different perspective or application.
For my bass compression needs, I rocked an EBS MultiComp for many years. A super easy dial in and covered a lot in a small box with only a few controls. However, these days I have an all digital board and my compression needs are handled extremely well by my Source Audio Ultrawave. I have a dual band patch (that I rarely use) a heavy squishy comp that I seem to use a lot (and then dial back) and warm comp patch that gets used occasionally.
 
#35
boomertech said:
My favorites have been optical for many years. What I think draws me to them, I believe, is the distortions generated in the side-chain control circuit that causes low and mid frequency harmonic distortions in the audio... this gives some of them a nice warm/mellow character. Plus optical compression is accomplished with a resistive element, gotta love them simple basics.;)

But I have really liked some FET and OTA/VCA comps. I saw a diode comp that really piqued my interest about two years ago.

View attachment 2579113

-Frank
Click to expand...
Ah Buzzaudio!
They really make great sounding things!
I was thinking about asking if they might make me one of their DI boxes as I read really good reviews about those but then they got discontinued.
 
#36
NASA Space program as well as NOAA data control lol lol lol. I am one of those guys, I do some recording and for the most part just play in my room, got some gear but I wanna know every little bit of that gear and what its doing and what nitch its serving and how its doing it. I've also dabbled with mixing audio and such, great description love it. ☺️
GMC said:
A forum question like this that is very open and wide ranging is going to get wide and varied responses. Some guys on here are professional audio engineers who happen to play bass. Some are skilled and experienced audio designers who design top end compressors for picky or discerning customers. Others are gigging bassists who have a "keep it simple but make a great sound" attitude. Some others are home noodlers / recordists who want more control than a Nasa space programme. Neither is right or wrong, just a different perspective or application.
For my bass compression needs, I rocked an EBS MultiComp for many years. A super easy dial in and covered a lot in a small box with only a few controls. However, these days I have an all digital board and my compression needs are handled extremely well by my Source Audio Ultrawave. I have a dual band patch (that I rarely use) a heavy squishy comp that I seem to use a lot (and then dial back) and warm comp patch that gets used occasionally.
Click to expand...
 
#37
Mr. voodoobass said:
All i can say is I like compressors that add something to my tone, either punch, fatness or sparkle and sustain. Depends on what I'm after at the time.
Click to expand...

That covers me as well. I don't use comps for dynamic control but rather as tone fattening/shaping tools. So I tend to prefer optical, tube, and tube optical comps. Although, I have had some VCA comps that I've really enjoyed as well.
 
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