My recommended settings are what guitarists typically like and are diametrically opposed to minimum coloration. Guitar players like the compressor to add color and feel.
Have you tried turning the mix knob down like I suggested? It'll let some of the original signal through while adding the benefit of the amount of compression you wantthank you for the reply, i haven't lost my ears
It seem that the Comp add color !thank you Cliff for the information.
Perhaps it will be a good idea to incorporate in the Axe a comp who are very transparent for the guitarist who like that .
The use of compressor is an "art" , and two guitarist are not the same.I personally like the compressor "transparent" .the CL-2A is a perfect example of a compressor studio that i like for his transparency.But it's true that his function is more in mix studio.
Yes, i think it's "the" solution for me ....Have you tried turning the mix knob down like I suggested? It'll let some of the original signal through while adding the benefit of the amount of compression you want
Happy to hear!Yes, i think it's "the" solution for me ....
Thank you for the advice.
It depends of the settings .....(analog 50hz, 60hz or off......and )But the CL-2A doesn't add distortion when it modulate the sound.Read what I wrote again. My *recommended settings* are ... The studio compressor can get extremely colorless if adjusted properly.
A CL-2A is popular precisely because of the color it adds (it adds both amplitude and frequency distortion) so something is up with your hearing.
It was long but effectively, the solution is here ! I keep some original signal and mix it with the comp until i find that the comp color too much my signal.Ha
Happy to hear!
Don't worry about the English. You're doing better than most of us would do in French!
The effects in the Axe are HIGHLY tuneable. The default settings are for a quick solution, it's up to you to figure out what works for you.
What are "optimal settings"? There is no such thing, it's all down to preference.I understand more after reading your post.
Because i find the standard settings of comp: attack and release not useable for me.
I thought that Cliff put in each block, the optimal settings....
Perhaps we are not using the word colour to describe the same thing? I've checked both the pedal compressors and the studio compressor more than once using noise from the synth block and analysing the results. Every time, the results were totally flat frequency wise.My recommended settings are what guitarists typically like and are diametrically opposed to minimum coloration. Guitar players like the compressor to add color and feel.
For example, (second time i write this example) : for a sound that contain 100HZ, the period is 10millisecond, so if set your attack below 10ms, you have trimmed your signal !What are "optimal settings"? There is no such thing, it's all down to preference.
No, I don't. It's nonsense to be honest. If it sounds good, it is good. Stop trying to calculate this and just use your ears man. I always set the attack time of the compressor at its's lowest value, that's where it sounds the best to me. I hate it when the initial attack gets through before the compressor reacts.For example, (second time i write this example) : for a sound that contain 100HZ, the period is 10millisecond, so if set your attack below 10ms, you have trimmed your signal !
So typically, if we are not country player, the optimal setting of the attack time will be not at 2ms like like standard setting( of the comp itself) when we choose a Comp in a block.And 100ms for the release seem to be too high. Because the risk of static compression.
You understand now why i talk about " optimal settings" when we choose a comp in a block.
For me , the compressor is good to my ears when the initial attack pass entirely before the compressor reactsNo, I don't. It's nonsense to be honest. If it sounds good, it is good. Stop trying to calculate this and just use your ears man. I always set the attack time of the compressor at its's lowest value, that's where it sounds the best to me. I hate it when the initial attack gets through before the compressor reacts.
As I said, it's all down to preference, use your ears.
I understand more after reading your post.
Because i find the standard settings of comp: attack and release not useable for me.
I thought that Cliff put in each block, the optimal settings....
For me , the compressor is good to my ears when the initial attack pass entirely before the compressor reacts
otherwise, i don't use a compressor.I want to control my dynamic pick.
But i understand very well your point of view.
For what it's worth I'm a big fan of the LA-2A (and 3A) as well, and it would be my first reach, but I'd never dream of putting it on the signal before the amp, DI bass, sure. It's always tacked on near the end of the chain, so maybe try the studio comp just before your verb.