Compressors...with which guitar and amps the most used?

jcs

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8,093
Or is it even across the board in terms of comp being a part of a guitar/amp rig?

I figured Teles and Fender type amps as I use my 'Dynacomp' types.....but that's it really

Obviously my 71 Small box 50 Marshall gets really compressed and will get 'jangly' with the guitar volume backed off.

I only have the 'old style' of comps but want to explore the Diamond, Empress etc types that do more than just squish for 'chicken pickin'.

Not really sure how the studio types will fit into my rig if at all

It would be nice to have a great studio type comp that would be effective with my bass rigs as well as guitar setup.

Thanks in advance!
 

TheGuildedAge

Senior Member
Messages
13,059
FX Engineering Mirage with everything. I love that compressor. Just always on as a sweetener to add some punch and clarity and a slight boost. He might as well stop making them with a footswitch.
 

71strat

Member
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10,330
I have the Roger Mayer RM58

Mayer 615

EHX Optical Tube Compressor.

When I think of studio compressor. I myself think of something that will run Line Level

Both the RM58/615 will run Both Line Level, OR Instrument Level.

The EHX runs 48v.

IMHO for the $$ the EHX is hard to beat.. although I did put Matched NOS Mullard I61s in it. Ive had this pedal since 2004.

Noel Gallagher also has the RM58 on his board. Not that I want to sound like him. But he uses 1.

roger_mayer_rm58_limiter.jpg
 
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Black_Label

Silver Supporting Member
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4,791
I have the Roger Mayer RM58

Mayer 615

EHX Optical Tube Compressor.

When I think of studio compressor. I myself think of something that will run Line Level

Both the RM58/615 will run Both Line Level, OR Instrument Level.

The EHX runs 48v.

IMHO for the $$ the EHX is hard to beat.. although I did put Matched NOS Mullard I61s in it. Ive had this pedal since 2004.

Noel Gallagher also has the RM58 on his board. Not that I want to sound like him. But he uses 1.

roger_mayer_rm58_limiter.jpg
That EHX is sneaky good. I used to have one that I used as an OD to push my Marshall JMP. In addition to being a great comp, it's one of the best sounding ODs I've ever had too.
 

71strat

Member
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10,330
I was going to mention the EHX as a Drive. It really does do a good job of it, and is also very warm, and with the NOS Mullards its even better.

For $200 IMHO this compressor is unbeatable, and very versatile. HAs many many functions/possibilities.

Ive been running the EHX INTO the Mayer 615, and it sounds really really good, and have become my 2 main processing pedals for taming volume. I can use these 2 pedals as easily as a Power Station.

I can jack the input so hard that on 1.5 on my Metro GMP45 is like its on 7 without the pedals, and the pedals retain every harmonic/dynamic. They are very powerful pieces of gear.

I haven't got the Mayer RM58 yet... But its in the mail, and will be delivered on Tuesday. I'm gassing for it.

Ive heard what it can do for Drums, and it was very impressive.
 

jcs

Member
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8,093
I've read great things about the Black Finger and White Finger.....however I've read plenty about quality control issues, which is nothing new with EH in my experience.

Definitely on my list though!
 

71strat

Member
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10,330
The RM58 is a Real Deal Studio Compressor. Its not a copy, or something Based On ect.

The RM57 is the MONO version of the RM58 which is/was used in


History
The RM 58 is still regarded today by many leading producers as a Holy Grail piece of vintage analogue equipment and was first manufactured in New York by Roger Mayer in 1970. It was an evolution from the RM 57 Limiter with the RM 58 providing greater headroom and more user friendly front panel controls. The audio circuit path was of a Class A discrete design only using the best available components and featured a proprietary FET gain reduction circuit. The RM 58 quickly became popular with all the top studios in the US including: Record Plant, Hit Factory, Electric Lady, Atlantic Records, Elektra Records, Columbia Records, A&R Studios. It was also used to master records with special 4 channels versions for the cutting rooms of many leading record labels. It has been used on so many famous records I would not know where to begin

. Technically the design was very advanced for it's time and today it's performance still compares very favourably to newer designs. The circuit path is extremely clean and transparent with an extended frequency response to 100Khz. The output is Class A unbalanced with a very low output impedance and we have never found any need to balance the output as the low impedance ensures a hum free interface. This method together with a Class A circuit audio path provides the ultimate transparency for the audio. It is the way the unit controls the peaks that makes this unit different from others and remains very natural sounding even with large amounts of gain reduction.



1970rm58.jpg

1970 Model





roger_mayer_rm58_limiter.jpg



ROGER MAYER RM 58 LIMITER TECHNICAL FEATURES
Digital Friendly:

The use of a good limiter to control peaks effectively in real time before you go into the digital domain is the best way forward to record a great sound. Using limiter plug-ins after the fact will simply not do the job as the peaks have already been recorded. This means that the main part of the sound does not have as much resolution or bandwidth as may be possible to give the best sound. The updated RM 58 has been designed to perform this new task with ease and bring a new dimension to digital recordings.

Headroom:
This has been increased to interface with professional digital recording systems.

Gain Reduction Meter:
An illuminated backwards reading large VU meter both shows Gain Reduction and the effect of the Attack and Release time constants on the amount of gain reduction. The gain reduction is measured using an identical side chain as the audio path thus ensuring accuracy.

Switched Attack and Release Time Controls:
The 6 position controls have been optimised to give a very useful range of control that can be recalled with ease.

Dual Operation Modes:
+4dBV and -10dBV modes are accessed through two sets of sockets.

Instrument Friendly:
The -10dBV mode input is high impedance that enables a guitar or other instrument to be plugged straight into the RM 58 without the need for a buffer. It will not tone suck the pickups and is very quiet and transparent. The -10dBV output will interface correctly with an amplifier or an input to a recording device. This extends the use to live shows using the RM 58 into an amplifier or to the PA system. You can use the +4dBV output to interface the instrument with a professional level recording studio recording system.

Bypass Switch:
This enables the RM 58 to be switched in an out to assess the limiting effect or bypass the unit. The status of the unit is indicated via an LED.

Power Supply:
There are no mains transformers in the unit to provide a source of hum. The unit is powered from a Regulated AC / DC Switching Adaptor. Input 100-240V , Output 48V 0.3A. The input voltage is further regulated and filtered onboard for the best possible noise free performance.

Dimensions: 220 x 145 x 58mm
Weight: 1420g

Some have said they find the EHX BF can be noisy.

Ive never had a problem with mine.

It will get a bit noisy if you drive it to the extreme, but if you don't fully max it out, its not noisy at all. At least mines not. I cant imagine the need to max it out either. But IMHO much of the noise people hear are noisy tubes, and they can squeal at extreme settings. You get what you pay for IMHO, and if 1 wants to use the pedal to the extreme, you must get well screened tubes, that have been tested for noise in an amp they use to test Microphone Tubes, and tubes for critical applications.

Id put $1000 on it, that when they used tubes in the studios, in their studio compressors..

They screened the livin crap out of the tubes, and Id also say they Matched them. My I61s are also matched.

But the noise is what ive read some say they have been a down to it. But like I said. Ive had mine since 2004 and have never had a problem.

Again, I also swapped out the GTs 12ax7s for NOS Mullard I61s. But really didn't have any issues with the GTs. But the Mullards do sound much better, as I would think in a real deal tube compressor... Tubes do matter. Ive also wondered if a 12au7 could be used, but have been to lazy to message EHX.

But for $200, I would buy my EHX again all day long. I don't think anything near the price can touch it, and am not convinced many more $$$$ compressors are much better. Especially if you put some real tubes in it.

While I haven't used the Effectrode... It is also considered a nice Tube Compressor... Runs on a full 48v. But I believe re very hard to find, and may not be made anymore. PC 2A I think they called it.

That's another thing I like about the EHX/Mayer/Effectrode is that they run on a full 48v.

You wont find real studio compressors running on low voltage.
 
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Texas_Blues

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4,565
If you want a studio comp, a big box Cali 76 is the way to go. I can't think of a setup or situation that wouldn't be improved by adding the Cali.

My studio board comp is the big box Cali 76 with the transformer. I'm still deciding on a gig board comp, the cali 76 cd is too pricey. I'm thinking about the Wren and Cuff Gold Comp at a discount price.
 

Stratobuc

Member
Messages
15,921
FX Engineering Mirage with everything. I love that compressor. Just always on as a sweetener to add some punch and clarity and a slight boost. He might as well stop making them with a footswitch.

Its my favorite too, and I have several good ones. Its the butter of pedals. Everything you put it on comes out better.
 
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rollyfoster

Silver Supporting Member
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18,438
I have an analogman bicomp that I LOVE. I got the 4 jack mod to put drives in between the juicer and the Ross sides.


On my clean Suhr Bella I use the Ross most of the time to tame my drives and give it a good feel when I can't turn up enough for the amp to give it to me alone. The blend knob is fantastic for a wide array of tones and applications.

For a dirty amp like my Swart AST it's pretty hard to beat the Juicer. That son of a bitch will just goose it into audio honey. Running that into an overdrive or even a fuzz and then an amp that's already grinding is an experience like no other. Even with a clean amp it can do that knopfler thing but I really like it most with the dirty stuff.
 
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lavinci

Member
Messages
1,695
Exotic SP Compressor
Tele
65' BFVR

THE MIX KNOB RULES,,!

easy to get a subtle to extreme compression,
low noise, small form factor....

I have it first inline in my signal chain.... Always on, subtle comp....
 

71strat

Member
Messages
10,330
Boostron%203%20-%20B&W%20w_Color_1.jpg

»
Controls:
  • BLASTER
    • Boost controls the output level of the effect
    • Blaster On/True-Bypass switch determines whether the effect is on or off (true-bypassed)
    • LED indicates volume by brightness
    • Bright controls the amount of treble boost
  • SQUEEZER
    • Juice controls the input level to compressor (the amount of “squash” to the signal)
    • Output controls the output level of the compressed signal
  • SLACKER
    • Gain controls the amount of gain in the distortion circuit
    • Bass Flat/-/+ Switch
      • Flat position is the normal tonality of distortion circuit
      • – position cuts bass frequencies from the distortion circuit
      • + position boosts bass frequencies to the distortion circuit
    • Level controls the output level of the distorted signal
    • Comp/Exp/Dist Mode Switch
      • Comp – 2 diode symmetrical distortion (a “limiting” distortion)
      • Exp – Single diode asymmetrical distortion (provides more headroom for dynamics)
      • Dist – LED + Single diode distortion
  • SQUEEZER footswitch determines whether the effect is on or off (true-bypassed)
    • LED
      • Red – Off
      • Blue – On
  • SLACKER footswitch determines whether the effect is on or off (true-bypassed)
    • LED
      • Red – Off
      • Dark Blue – Comp
      • Light Blue – Exp
      • Green – Dist
Specifications:
  • 1/4″ True Bypass Switching Input Jack
  • FX Loop
    • 1/4″ FX Send Jack – After BLASTER
    • 1/4″ Return Jack – Before SQUEEZER
  • 1/4″ Output Jack
  • 9 – 9.6V DC
  • Weight: 2 lbs
  • Dimensions: 6″ x 4.5″ x 2.25″
  • 1 Year Limited Warranty
  • Made in the USA
Owner’s Manual:
Boostron 3 Musician’s Manual
 

Boomstick

Member
Messages
313
I've been looking at compressors. Most people recommend me the Keeley but I'm pretty sure I will get a Wampler Ego because it adds a blend function. From what I gather though, you want a brand new Ego, liked a 2016 or maybe 2015 unless you prefer the bright mode. They used to have a bright switch, then they removed it and initially had brightness stuck on, but they changed that to be off now.

Here is a side by side comparison of the Ego vs the Cali76 which is also very highly regarded, and also very expensive. The ego sound warmer where the Cali sounds brighter.


Alternatively, I gather the Xotic XP is a great sounding, cheaper option that does not color the tone. But it does not have an attack knob, only internal dip switches, if that's important to be able to change it.
 

Clark GriswoId

Looks Great. Little Full, Lotta Sap.
Silver Supporting Member
Messages
3,957
Walrus Audio Deep Six. Best quality for the $200 price range, imo.
 

Black_Label

Silver Supporting Member
Messages
4,791
My studio board comp is the big box Cali 76 with the transformer. I'm still deciding on a gig board comp, the cali 76 cd is too pricey. I'm thinking about the Wren and Cuff Gold Comp at a discount price.
That's funny because it's exactly what I'm using. Big box Cali in my studio rack and a Gold Comp on my board. The Cali76 cd (I'm just borrowing at the moment) is kind of steep but it's a tad quieter in my setup than the Gold Comp so I might switch things up next year. Also, the Cali 76 cd is best at 18v, while the GC runs on 9v so I'd have to figure out a new power supply situation.
 

Texas_Blues

Member
Messages
4,565
That's funny because it's exactly what I'm using. Big box Cali in my studio rack and a Gold Comp on my board. The Cali76 cd (I'm just borrowing at the moment) is kind of steep but it's a tad quieter in my setup than the Gold Comp so I might switch things up next year. Also, the Cali 76 cd is best at 18v, while the GC runs on 9v so I'd have to figure out a new power supply situation.
I tried the gold comp and fell in love with it for my live rig. I had the cali cdlx before I went up to the TX lp.
 




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