Some Wah and Compressor tips

Sometimes I lower Max Freq, because it makes a way cut better at high gain.
I haven't see the need to do this yet. I have to see how it fits in the mix.
 
yek said:
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 way, 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.
Click to expand...


The compressor settings you suggest are a good starting point for the tube compressor IMO.
On the other hand you propose a release time 20 ms which is remarkably short.

A very short release release time may lead to audible compression pumping, making your guitar sound as if it has a cold.
Additionally, it can lead to clipping, too.

For curiosity I tried some of my clean sounds with your settings and P90 and gold foil equipped guitars and found them too much pumping for my taste.

IMHO the settings work more clean and smooth in my case with the slight modifications below:

Threshold -32
Compression 2.80
Attack 1.9
Release 45 ..... 60
Output Level 2.50

Depending on the amp, for clean sounds I often add a very slight amp output compression.
 
yek said:
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.
Click to expand...
That riff is like playing Twister with your fingers!
 
langohr said:
On the other hand you propose a release time 20 ms which is remarkably short.

A very short release release time may lead to audible compression pumping, making your guitar sound as if it has a cold.
Additionally, it can lead to clipping, too.

For curiosity I tried some of my clean sounds with your settings and P90 and gold foil equipped guitars and found them too much pumping for my taste.

IMHO the settings work more clean and smooth in my case with the slight modifications below:

Threshold -32
Compression 2.80
Attack 1.9
Release 45 ..... 60
Output Level 2.50
Click to expand...

Yes, I know what you mean, and I hate compression pumping in modern EDM ...

20 ms Release did work for me, but I agree that a little higher is better.
 
yek said:
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 ...
Click to expand...
I squat down on the floor for that lick. Looks like I’m having a poo.
 
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tysonlt said:
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...)
Click to expand...

Thanks for the Wah and compressor tips. What's your cheat on that lick? I have a hard time with it too because of what Yek said and because my twice broken pinky has gotten too short.
 
I agree the FAS Wah out of the Box is the one. However if you take your time and dig in with the different parameters you can really dial in exactly what ya want..
 
Thanks for sharing Yek!

I have both a Pro-Analog Supa-Quack wah and also an RMC-3 Teese wah that is customizable. Both are awesome wah-wahs that do what you want them to do. I'm fussy about wahs.

I worked on emulating the sound of each real-life wah long before I got the Axe-Fx III, and I have to agree the FAS Wah both sounded the best and also got me the closest to the real wahs. I had to play with the tapers and curve shape too to try and dial in. Linear taper does not work, and was glad when Cliff added audio taper options more like a real wah works.

I have not had a chance to use the Wah's new GEQ, but I learned from Eddie Kramer (Hendrix) that the secret of that iconic Hendrix Wah on "Rainy-Day, Dream Away" from Electric Ladyland is a db boost at exactly 1.2kHz at the mixing board along with 1176 compression. Makes it really brighter/articulate and jump right out of the speaker at you. On my list to sounds to "emulate" with the Axe-Fx III!
 
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Thanks for the tip, @yek. Compressors have always been difficult for me because I never used one before the Axe. This is very helpful and sounds great!
 
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