Some Wah and Compressor tips

yek

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WAH

Lately I wasn't completely satisfied with my Wah tone (slightly modified Cry Babe model). Especially when used with higher gain amp tones, where there was too much "quack" to my liking.

Here's what I did:

  • I created a number of tracks in Logic, and recorded the same solo piece on each track, using a different Wah type on each track.
    FWIW: I played the first solo from Pearl Jam's Even Flow, using the Euro Red model.

  • I could have used the Looper for this, but I didn't because I adapt my playing to the wah.

  • I then auditioned each track. It was easy to reduce the number of qualifying Wah types to these four: FAS, Clyde, Mortal and VX845. The FAS type surprised me.

  • For further selection, I repeated the exercise but now with a completely clean tone, playing some porn funk ("wacka wacka").

  • To my surprise, the standard "FAS" type turned out to be the best choice for me, after doing both tests. It's now my mainstay Wah. The VX845 came second.

  • The entire thing took me about 30 minutes.

  • Considerations: the Clyde still has a little too much "quack" for my taste when playing low notes. The Mortal is too plain. The Vx845 frequency spectrum is a little high for that "wacky wacka" thing but otherwise an excellent choice for clean-to-medium gain. On paper the 846 model should be the better wah, but I prefer the 845.
COMPRESSOR

Dialing in compression is an art, and one which I don't really master or want to invest too much time in. The Tube Compressor type has made this a lot easier for me. I'm loving what it does to the sound, with simple settings.

Threshold -30
Compression 2.70
Attack 2
Release 20
Output Level 2.50

Be careful with the Compression parameter, because the Tube Compressor can clip easily.

Combined with a tiny bit of Output Compression in the Amp block, my clean sounds are very balanced, bold and strong.
 
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Before Amp.

In a few songs I also add a Comp after the Amp block to limit the dynamic range.
That helps me with, for example, playing that $%%ˆˆ arpeggiated lick in Mr Brightside by The Killers.
 
Before Amp.

In a few songs I also add a Comp after the Amp block to limit the dynamic range.
That helps me with, for example, playing that $%%ˆˆ arpeggiated lick in Mr Brightside by The Killers.
Arg I hate playing that lick. I cheated and made an easier version that sounds about 85% there... drunk pub dancers don't notice (I hope...)
 
Arg I hate playing that lick. I cheated and made an easier version that sounds about 85% there... drunk pub dancers don't notice (I hope...)

Haha, the lick itself isn't that bad after a bit of practice. It's just that it must be played so high on the neck. I either have to hang my guitar close to my neck, or lift my leg up to be able to put my fingers in the right position for it ...
 
Ah, I ride pretty high. I also started out playing U2 covers so I'm kinda used to being up past noon on the fretboard.

I still don't like playing that lick though!
 
Funny... I settled on the FAS Wah myself some time back (while still on Axe Fx II), although I'm sure I've also probably tweaked at least the Min/Max frequency settings.

A few nights ago, I decided to revisit the Compressor and had totally forgotten that the Analog and Tube models had been added.

I run the Compressor as the first block in my chain, and for a long time I was using the Studio model. When the Optical was added, I ended up switching to that and have been using it since.

After playing around for an hour or so the other night I also settled on the Tube Compressor (the Analog is very nice, too). In my case, I liked the response best with the Auto Attack/Release engaged though I normally prefer to dial it in myself.
 
Yeah, I have Auto Attack engaged too (it's default, I think).

Note that "auto" doesn't mean entirely automatic. "Auto" adjusts Attack and Release within a certain range, so it still matters where you set Attack and Release at.
 
Yeah, I have Auto Attack engaged too (it's default, I think).

Note that "auto" doesn't mean entirely automatic. "Auto" adjusts Attack and Release within a certain range, so it still matters where you set Attack and Release at.
Interesting... I didn't know that.

I was actually just planning to go read the manual section on the block to get a better idea of how that control works, so now I definitely need to do that. Thanks!
 
Before Amp.

In a few songs I also add a Comp after the Amp block to limit the dynamic range.
That helps me with, for example, playing that $%%ˆˆ arpeggiated lick in Mr Brightside by The Killers.

I agree. A tiny bit of output comp in the amp block or a (second) comp after the amp block is always a good try to achieve a powerful and sweet clean tone.
 
I've been using the "petrucci" wah settings on the crybaby but I've been having some issues where it drives the audio into clipping when placed after the amp depending on what position it's at. It works well before the amp and I guess that's the more traditional location for it, but I am trying to get more of a filter sweep effect on the audio in some patches. Any ideas on how to deal with that?
 
I've been using the "petrucci" wah settings on the crybaby but I've been having some issues where it drives the audio into clipping when placed after the amp depending on what position it's at. It works well before the amp and I guess that's the more traditional location for it, but I am trying to get more of a filter sweep effect on the audio in some patches. Any ideas on how to deal with that?


Wah > Comp.
 
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