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GuitarPlayer.com >> This Month >> Compression Basics
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Compression Basics

| August, 2006

The use of compression by guitar players has become a sort of snake oil tonic. It can pump up sonic impact and clarify note attack, but, all too often, the application of compression sucks the life out of the guitar sound instead of enriching it. Here are some tips for using compressors for good, instead of evil.


What Is Compression?

It always helps to know exactly what a signal-processing tool does, and many guitar players have no clue about compressors—except that they “make the sound chunky.” Here’s what’s really happening to your guitar signal when it’s compressed. For one thing, you’re not “beefing up” the signal, per se. The compressor reduces the dynamic range of the input signal after it passes a set threshold level (measured in decibels). This action effectively increases the presence of soft signals, and decreases the presence of loud signals. The benefit to the guitarist is that bass and low-midrange content is typically enhanced, pick attack is more prominent, and the overall sound of the guitar appears “louder.”

Six Great Guitar Settings

The following settings are basic starting points to achieve specific sounds. Depending on your model of compressor, the performance of the guitarist, and the amp and mic (or modeling processor) used, some settings may vary a bit. I tracked these sounds at San Francisco’s Potrero Post studios with session guitarist Jerry Stucker using the Focusrite d3 plug-in for Pro Tools.
Ringy
Threshold: -17.8dB
Ratio: 10:1
Attack: 150ms
Release: 987ms
This setting is heavily compressed, making chords and single notes thick and even, and sustain like, forever. The medium attack allows the guitar strings to ring, and the long release holds on to produce a massive, Neil Young-like sustain.

Chunky
Threshold: -15.5dB
Ratio: 5.1
Attack: 11ms
Release: 102ms
This is the fat, ballsy sound that drives many of the guitar-heavy bands of the late ’70s and early ’80s. It’s mildly compressed with a fast attack and a medium release, which allows all the strings—from low to high—to sound evenly for a massive punch. Think “Barracuda” by Heart.

Chicken Pickin’
Threshold: -31.4dB
Ratio: 6:1
Attack: 1ms
Release: 25ms
Play this sucker on a Telecaster and ride it all the way to Nashville. The fast attack nails the initial string impact, and the fast release lets it go pronto to minimize sustain. The result is a clean, snappy pluck that works great for those blazing cowboy cascades.

Smooth
Threshold: -27.5dB
Ratio: 10:1
Attack: 50ms
Release: 38ms
This setting is squashed pretty hard with a high threshold that pretty much grabs the entire signal to produce a sound with no sharp edges. The resultant velvety texture is wonderful for smooth jazz tracks and other sophisticated guitar tones.

Cinematic
Threshold: -30dB
Ratio: 7:1
Attack: 250ms
Release: 250ms
Clean notes that float in languid, ethereal sustain—think Ry Cooder’s brilliantly sparse lines on the Thelma & Louise soundtrack—are provided here. The slow attack allows the note attack to retain punch and impact, and the long release keeps the sound ringing. This expansive and evocative setting works great for slide parts, as well.

Funky
Threshold: -21.6dB
Ratio: 7:1
Attack: 61ms
Release: 84ms
To accentuate those funky, biting pick attacks—as heard on classic Sly Stone and Earth, Wind & Fire tracks—this medium attack and fast release does the trick.


 
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