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How about we pool knowledge and understand the Compressor block options better?

austinbuddy

Fractal Fanatic
Vendor
I am surprised you did not go for the JFET for the 1176 sound.

I sometimes stack two JFETs for that huge stacked 1176 slide (Cali SlideRig) sound
You'd think so amigo. But I tried it next to the A/B and liked the Studio Feedback one better (more accurate). I can get the Cali 1176 thing going with two comps in series a la Little Feat. I also really like having the compression threshold grid while I play happening, so I can see what is happening visually (so it's not a total guess), and as I recall that one doesn't have that... I don't think Cliff was building in unique compressor tonal "color" into any of these, but perhaps I'm wrong...
 

addedc

Experienced
Must be an "Andy" thing, because Andy Timmons does the same thing. How he sets a Mesa Loan star is kind of meh, but when he engages the comp with a high output, the amp comes alive with an amazing tone.
Try that in the AFX3, you will amazed!
What a great tip. Thanks!
 

touch33

Inspired
O M G – an AFX3 thread I may actually know something about!

Back in The Day, when the conversation came around to compression we used to think of UREI 1176's as excellent door stops – as in "no, don't load that thing into MY house rack – just put it on the floor over there". We didn't really like the way they sounded, they took up too much room and there was ALWAYS something better sounding to be found on the Compressor Shelf in Make-Ready. Now they're "vintage" and $3K – srsly?

But as a limiter – NOW you're talking! Probably why it says LIMITER on the front panel...

ANYWAY, try this: set the ratio to 20:1, attack and release to 1 ("as fast as it goes" – one thing the 1176 does well is get out of it's own way) output to 16-18, and meter to GR (gain reduction). Drive the input up until it just tickles the meter – all you want to do is knock off the peaks just a tiny bit. If it sounds glitchy add a tiny bit of release, but keep it quick. NOW – put thusly-set 1176 in front of the VCA compressor of your choice (dbx 160x works well) set somewhere around 2:1 to 3:1, "over easy" bent knee if it has one, and the threshold set to get some solid gain reduction.

The limiter keeps the transients from hitting the VCA hard (which causes it to gag all over itself), allowing you to then really drop the VCA threshold for some serious gain/sustain control – still sounding pretty natural all the while.

I realize I'm not giving any hints on how to mimic an 1176 (shudder) as my point is that just about any limiter will do equally as well. Try it – you may like it!
 

Mohi

Inspired
I love my Wampler Ego Compressor and due to lack of knowledge could not replicate it in the Axe Fx, can it be done?
 

guitarnerdswe

Fractal Fanatic
I'm very happy with the new Studio Feedback compressor type in the Axe-Fx III.

Spent some time A/B'ing it to the Universal Audio 1176 plug-in emulation in my console to get a sort of Glynn Johns use of it for guitar (more like a limiter, but with punch) and I'm much happier with it now - it's doing what I want it to to make the guitar sound BIGGER bu not necessarily noticeably compressed - more of a volume smoothing tool. I just put that compressor type into the 200+ Bass TonePack (out now for Axe-Fx III/FM3), and also into the forthcoming firmware 14 Brit Rock Royalty #1 update instead of the analog compressor and am satisfied with the results.

For 1176, I do the attack at .283ms (yes, less than 1 ms) and release at 75ms. 4:1 ratio. Those are the specs I found for an 1176, which has a super fast attack.

Then I used a hard knee and threshold around -20db, +/- 2in either direction, I turn off the auto makeup and release etc. and then set the output usually about 3.25 db. Works more like a limiter (just does -1 to -3db gain reduction on peaks), but makes sound bigger/fatter but not real compressed sounding.

Sounds great!
Before or after the amp?
 

bnwpro

New Member
I love my Wampler Ego Compressor and due to lack of knowledge could not replicate it in the Axe Fx, can it be done?

As a long time Wampler Ego user I've been wrestling with the same issue. Just yesterday I cam close enough to my Ego to remove it from the AF3 FX loop. That being said, it's not a 1:1 at this point as the Ego seems to fatten the notes in a very special way. However, the key for me was the Tube Compressor as it adds a bit more grit/coloration than the other types I've been trying to achieve this:

Play with the Threshold in small increments;
Adjust the output Level to push your Amp;
Try the Mix (with more aggressive compression) knob to replicate the Ego's Blend pot.

(Next task is to replicate the warmth of my v3 OCD pedal... the key is in the Drive Block's built-in EQ)
Screen Shot 2020-11-05 at 9.59.39 AM.png
 

Mohi

Inspired
As a long time Wampler Ego user I've been wrestling with the same issue. Just yesterday I cam close enough to my Ego to remove it from the AF3 FX loop. That being said, it's not a 1:1 at this point as the Ego seems to fatten the notes in a very special way. However, the key for me was the Tube Compressor as it adds a bit more grit/coloration than the other types I've been trying to achieve this:

Play with the Threshold in small increments;
Adjust the output Level to push your Amp;
Try the Mix (with more aggressive compression) knob to replicate the Ego's Blend pot.

(Next task is to replicate the warmth of my v3 OCD pedal... the key is in the Drive Block's built-in EQ)
View attachment 74692

Thanks a lot! will give it a try, it is a great pedal and I do use it to push my tube amp and fatten the notes.
 

curious

Experienced
Great info on this thread. I have to admit, after 40 years of playing guitar, I’m still learning about how to use compression. I’m looking for advice as to which compressors to use for:
1. Clean rhythm tones for funk R&B
2. Slightly dirty tones for blues and rock rhythm, and
3. Higher gain tones for rock rhythm and lead
Also, please give me any tips you have for settings.
Thanks.
 

fremen

Fractal Fanatic
Vendor
I would mostly use compressors only for 1, in some cases for 2 (when using pos 4 on a Strat, for example), but never for 3 (or, maybe the multiband compression as a post-production tool, to tame the chugga chugga palm mutes)
 
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