Compression ??

I have seen a lot of posts that show a studio comp first in line. Is this usually required in a metal set up? if so any rec settings?
Thanks
 
If you used it never before, it's a bit complicated. You could find some general answers in internet. Afterwards you can experiment, it will take some time to learn what to listen to. A good alternative is the compression in the amp block, that one is simplier, one knob (if you don't play also with treshold) and you can just use your ears. It depends also on your playing style, do you play djent? than you should misuse the compressor block in combination with noise gate. :) Go to Axe Exchange, download a few presets and learn it there, for example. Do you know what would you use it for anyhow? :)
 
you don't really need the studio compressor.. you can use one of the pedal compressors to do the same sort of thing..
the main difference between studio and pedal is that the studio one if far more configurable so you can dial it in, in more detail

I use the pedal compressor and achieve the results I'm looking for..
the reason is simply because the pedal compressor consumes less cpu

think of it like this:
pedal compressor = big fat paintbrush
studio compressor = surgical scalpel
 
I have seen a lot of posts that show a studio comp first in line. Is this usually required in a metal set up? if so any rec settings?
Thanks
I'd generally recommend staying away from broadband compression on distorted guitars in metal.

I personally use multi-band compression in my DAW as plugin. If you want to use it in the Axe-Fx, I'd recommend that it be towards the end of your chain.

Regarding my multi-band compressor settings, I have it set up to only affect roughly from the 60Hz to 250Hz range. I lower the threshold to taste. Attack and release are set fairly quick.
 
I agree with Lionheart's assessment & method... but at the same time, I've run presets before with studio comp up front, MBC after the cab, and a touch of output comp in the amp block... all in the same patch.
Very general rule of thumb, comp up front is about dynamics, comp towards the rear is about freq responses (still dynamics, but different overall end result). Do whatever works for you.
 
I'd generally recommend staying away from broadband compression on distorted guitars in metal.

I personally use multi-band compression in my DAW as plugin. If you want to use it in the Axe-Fx, I'd recommend that it be towards the end of your chain.

Regarding my multi-band compressor settings, I have it set up to only affect roughly from the 60Hz to 250Hz range. I lower the threshold to taste. Attack and release are set fairly quick.

I don't completely agree with this..
a compressor after the amp and a compressor before the amp are doing different jobs..
 
I don't completely agree with this..
a compressor after the amp and a compressor before the amp are doing different jobs..

Did I mention anywhere in my post about putting a compressor before the amp? The answer is, "No."

I was specifically giving advice on using compression towards the end of the signal chain.

So, what is it exactly that you don't agree with about my post? Your comment is a straw-man argument.
 
So, let me make a post dedicated to using compression BEFORE the amp in a metal production.

I personally don't use it because high-gain amps are naturally very compressed as it is because of the amount of distortion being used. High-gain amps possess a natural harmonic compression on their own.

In metal production, if you're looking to tighten up an amp or add some more definition and low-end, I reach for a overdrive pedal. I set the "overdrive" to almost none and max out the "volume" on the overdrive pedal. I'd much prefer this to a compressor pedal in front of an amp in a metal context.

Now, if you want to talk about clean guitars in metal, then yeah, I'd totally recommend a compressor pedal before or after the amp.

*EDIT* I forgot to mention that I have used a compressor pedal before the amp on lead guitars.
 
Last edited by a moderator:
Did I mention anywhere in my post about putting a compressor before the amp? The answer is, "No."

I was specifically giving advice on using compression towards the end of the signal chain.

So, what is it exactly that you don't agree with about my post? Your comment is a straw-man argument.

the OP was asking about the compressor being 'first in line'
If I understood the OP's question correctly, I took it to mean compressor being placed before the amp
so it looked to me like he ask a question and you answered about something different
of course I may have not understood his question correctly.. which happens from time to time..
 
the OP was asking about the compressor being 'first in line'
If I understood the OP's question correctly, I took it to mean compressor being placed before the amp
so it looked to me like he ask a question and you answered about something different
of course I may have not understood his question correctly.. which happens from time to time..

I didn't directly answer the OP's question with my first post. That's why my first sentence started with, "I'd generally..."

Since you brought up the differences of using it before and after the amp, I went ahead and addressed that in post #8.
 
So, let me make a post dedicated to using compression BEFORE the amp in a metal production.

I personally don't use it because high-gain amps are naturally very compressed as it is because of the amount of distortion being used. High-gain amps possess a natural harmonic compression on their own.

In metal production, if you're looking to tighten up an amp or add some more definition and low-end, I reach for a overdrive pedal. I set the "overdrive" to almost none and max out the "volume" on the overdrive pedal. I'd much prefer this to a compressor pedal in front of an amp in a metal context.

Now, if you want to talk about clean guitars in metal, then yeah, I'd totally recommend a compressor pedal before or after the amp.

*EDIT* I forgot to mention that I have used a compressor pedal before the amp on lead guitars.

in all this I completely agree.. my own choices seem to be very similar to yours..
the only minor differences is that I'd go for a filter block instead of a drive block for tightening purely because it consumes less cpu [some of my presets can be a bit cpu heavy].

in all my presets you'll see a comp in front of the amp, but it's not used all the time..
I do this tone morphing thing so an XP morphs dirty tones to clean.. when the XP is heel down the comp mix = 100%, as to XP moves to toe down the mix control moves to 0%. so the dirty tone has the compressor out and as the tone cleans the compressor gradually strengthens..

like yourself I've used a comp with lead tones to add a little silky smoothness to the feel and tone.. but in the Axe I've generally found that it's not needed as I solo with the 5153Red.. with that amp choice the comp just adds noise and brings you closer to the point where that high-freq squeal occurs.. I guess that's cos the 5153Red has gain and compression enough all on it's own..
that said, I did a session not so long ago where I wanted that 70's fusion tone to solo with.. so I ran a strong compressor in to a fuzz set quite gently into the Hiwatt.. worked a treat..
 
in all my presets you'll see a comp in front of the amp, but it's not used all the time..
I do this tone morphing thing so an XP morphs dirty tones to clean.. when the XP is heel down the comp mix = 100%, as to XP moves to toe down the mix control moves to 0%. so the dirty tone has the compressor out and as the tone cleans the compressor gradually strengthens..

Cool idea about the expression pedal morphing thing. That's a nifty trick.
 
Cool idea about the expression pedal morphing thing. That's a nifty trick.

haa yeah it works a treat.. you just have to be careful with the shape of the modifier curve to keep it sounding natural..
or else the comp will cut in too hard, too soon when cleaning the tone
so as the XP moves from toe to heel I hold the comp mix low and start ramping it up in the final third of it's throw
that way the comp holds back and don't start getting strong until the tone hits that 'light crunch / aggressive clean' end of the tone
 
Hey Clark, could you possibly do a quick Tut on this. I just got a mission pedal. My guitar teacher does this with his EB expression and goes between 2 amps seamlessly clean and dirty. Would love to pull this off with my axe
 
Back
Top Bottom