Already have an account? The point here is to just flatten the higher peaks. In addition I run my bass directly to … Not to be skipped over as well: Sometimes drums just need to be massaged with a little automation before I’ll reach for a compressor. For bassists, there are several advantages to using a bass compressor pedal in a live setting. There are a number of interesting quirks about the 1176 that you should know about first. Now this is typically the slowest setting on just about every other compressor limiter, both hardware and software. The room mic was a Beyerdynamic M160, which coincidentally was the mic used on John Bonham's kit for Led Zeppelins classic When The Levee breaks, which was heavily processed with the 1176 (hardware version of course). Ratio - The amount of bass compression to be applied after the threshold. Change ), You are commenting using your Twitter account. A medium setting is good—fast enough to be ready for a quiet note, not so fast that it boosts noise that occurs between notes. After all, fast compression can introduce serious distortion on slow‑moving bass waveforms. Ampeg was pretty big in the 60's for bass sounds. Now this is typically the slowest setting on just about every other compressor limiter, both hardware and software. With these insanely fast attack times and ratios, the compressor can kick in so fast that it actually grabs the bass transients and distorts then for a fraction of second, keeping the dynamics in check but still accentuating the note attack. With these insanely fast attack times and ratios, the compressor can kick in so fast that it actually grabs the bass transients and distorts then for a fraction of second, keeping the dynamics in check but still accentuating the note attack. Yeah, start with the bass itself for the 60's sound. This makes compression a potential tone killer if used with too fast of an attack time. The higher the ratio, the more the signal is compressed. Any signal which passes through the bass compressor pedal louder than the threshold setting will be compressed. You can push the compressor pretty hard and still have it sound pretty good. So let's check it out. Try adjusting the threshold from there. I begin by setting the ratio at 4:1. All were recorded with the same Fender P-Bass going direct through the hi-impedance input of a Cranborne Audio Camden mic preamp. Comparatively, at the slow setting the Urei 1176 is a lot more harmonically rich, and the drums have more life and punch to them, the elements of the drums are still locked in than either the BF76 or Logic FET. By the same token, the Universal Audio 1176 LN, which as an FET compressor, is one of the most popular of all time for drums, electric guitar, bass and bus compression (two linked in stereo). ... For example: Say you’re trying to tame the unruly attacks of a bass guitar played with a pick. It's necessary to listen to the part and adjust the compression settings to obtain the sound you want. Vocals too. 1176 is much more versatile. Meanwhile, the elegant jewel lamp functions as a three-colour gain reduction meter, providing … The Empirical Labs Distressor imparts a warm, vintage sound inspired by classics like the 1176 and LA-2A. And this is a very aggressive setting, but it does works really well. One of the most popular choices is an 1176-style emulation like Waves’ CLA-76. Sorry, but that doesn't sound much like '60's bass to me! The first source I put to the test was bass guitar. If you're new to compressors, it may take a fair amount of experimentation to find the setting that most complements your bass playing style and your equipment. Paired with Logic's stock comp on opto mode, simulating an LA2A to the best of it's abilities - sadly the soft clip on it sounds like ass most of the time. I'm gonna try all of these different things. You can set the attack and release. Max Bass. Waves CLA 1176 Compressor – Watch in 1080p! The blend knob allows more control over how much effect is added to your raw signal, and the frequency toggle can be adjusted to … Continuing along here in the Mix 101 series, we’re going to be checking out how to use one of my favorite compressors, the 1176. I suspect that more clear differences would have come into play at more aggressive settings. I generally mix loud rock/metal stuff, and I struggled with this for years, trying to find a balance between compression, eq, and istortion and it was hit or miss at best. You want to set the attack time of your compressor as fast as possible to deal with the transients, but you notice that when you do, an unpleasant distortion occurs. The Cali76 Compact Bass is a studio-grade FET compressor specifically engineered for bass guitar and low frequency instruments. The one that I use is the Antress Seventh Sign available here. The beauty of the 1176 is that you can pull off a lot of GR and STILL get it pumping controllably since the release is really easy to time. The degree of increase is also material dependent. The compressor will keep the initial thump under control, but the muting will prevent the compressor from adding a lot of sustain. Then tweak the other settings from that point. They work! i would use a pick 'cause in the 60's they used to play bass with picks a lot. It will grab a lot of the … The equal loudness contours graph to the right shows the relation of sound pressure levels needed across the bandwidth of human hearing that’s required for equal perceived volume. This is an absolute staple for me when mixing things like vocals, drums, bass, and especially using parallel compression. The 1176 has variable attack and release controls, which makes it flexible enough to get the job done in a variety of different circumstances. This compressor is one of the most famous and most used compressor in almost everything, you can use it on drums, guitars, bass, and vocals, thus its super versatile and sounds really great. Meanwhile, the elegant jewel lamp functions as a three-colour gain reduction meter, providing vital and intuitive feedback As far as compression goes with the 1176, I'd start with a ratio of 4 (though sometimes 8 or 12 are great for bass), attack at 4, release at 6. By the same token, the Universal Audio 1176 LN, which as an FET compressor, is one of the most popular of all time for drums, electric guitar, bass and bus compression (two linked in stereo). In addition I run my bass directly to the compressor and run that into the LMII input. They work! This compressor should not be doing a whole lot, just knocking 2 … Also, it has a cool sound. At high settings it is far closer to the Urei 1176 at the slow setting, not so much at the fast setting as you can hear. A single combined Attack/Release control provides a continuous sweep of useful settings while avoiding combinations that can result in ugly distortion artefacts creeping into the lower registers. The attack on six and the release on seven. There’s actually a lot of great plugins on this site, many based on classic pieces of gear, and they all come in one giant zip file, so there lots of free stuff to play with. What types of setting do the other DBX 160A players use? At the end of the ration knob, there’s a CR setting. The standard 10:00 and 2:00 (input/output) settings are standards for a reason. The 1176 is a little bit tricky to fully grasp at first because of the backwards knob settings. It is the glue you probably have been looking for. I start with drums and bass. Joined Mar 20, 2000 Location Nanaimo BC, Canada. ( Log Out /  On the other hand, too slow of an attack can leave large transients tearing up your mix. The original source audio was then sent to the hardware with the settings matched (or as near as can be) with the plug-in and printed to new audio tracks. Create a free website or blog at WordPress.com. The most common combination is to put the 1176 first and set it up as a peak limiter. Yay! It is the glue you probably have been looking for. This is an absolute staple for me when mixing things like vocals, drums, bass, and especially using parallel compression. You begin with checking that the bass is in phase, and I also add plenty of top end, so it fits in the track. This one is a staple in my bass processing chains. Finding good compression settings for bass to get a tight and solid low end can be a mystery if you’re new to mixing. Introduced in 1968, the UREI 1176 was the first true peak limiter, with attack times as fast as 20 microseconds and compression ratios up to 20:1. Introduced in 1968, the UREI 1176 was the first true peak limiter, with attack times as fast as 20 microseconds and compression ratios up to 20:1. But in All-Button Mode, a few more things are happening. Seymour Duncan’s design is similar to the Keeley Bassist compressor in simplicity but with a few changes to the interface controls.. If you add much compression, you'll increase sustain, so that won't necessarily sound all that 60s, it would seem to me, unless you do the muting as mentioned above. Remember, the settings depend upon both the music and the playing style of the bassist. The examples (vocal, bass guitar, snare, bass drum) discuss compression and limiting setups as well as ways to use the 1176 as a color box without compressing. Between 125ms to 250ms is usually appropriate for bass. This is true for any of the 1176’s ratio settings, and is part of the 1176’s sound. 3 mono sources were selected for the test; bass guitar, acoustic guitar and female vocal. ... Say you’re trying to tame the unruly attacks of a bass guitar played with a pick. One solution that can save you some mix headroom it to add more harmonic information via saturation/distortion/exciters. Low frequencies carry the most energy in music, and as a result, loud bass can easily overwhelm a mixer and reduce the available voltage required for other instruments. This tutorial will teach you everything you need to know about the attack, release and ratio settings. Cali76 Compact Bass, the studio-style stompbox compressor that loves low end! It will make your bass sit in the mix much better. Just like a bass guitar, our kick drum’s “low-end” will require some compression to provide consistency. Mixing a bass guitar into a musically dense track can be tricky business. 3 plug-in presets that ship with the plug-in were selected and then printed to a new track. Every bass sounds fatter when it leaves the CLA-76. H compressor limiter. Bob Clearmountain. But whatever makes you happy! The key to pulling that off without getting to much sustain is of course the foam mute, as others said. Create a username and password below and an account will be created and your post entered. It work great on vocals, too. Dont use picks to play it! But once you get the basic principles under your belt, you’ll find that bass compression is actually a fairly simple concept.

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