to compress or not compress

[Paul Smith]

Hello,

Ive been back at the steel for about a month now, after an 11 year hiatus... my goodness its slow going trying to get the chops back... I currently use no effects just go through my shobud into a volume pedal direct to an amp, which is a 1967 Ampeg Reverberocket 2 with an eminence commonwealth 12 speaker, (great amp btw) but man is this rig unforgiving, if i make the slightest mistake it is so obvious, but I love the tone of this rig, and wasnt sure if maybe a compressor might help smooth things out, or the other thought would be to just keep forging ahead to practice and work on my blocking and technique

any thoughts?

smitty

[Tucker Jackson]

My vote is to forge ahead, focusing on your volume pedal technique. It can do exactly what a compressor does: cut back the attack a little and then increase volume as the strings die out (to create sustain).

If you want to add a compressor later once you've got that technique up to snuff, you can do so. But I don't think most steelers use one in a live situation -- it's not considered essential gear.

You said you aren't using effects... you might do better to add a little reverb if you're wanting to smooth out your sound.

[Paul Smith]

You said you aren't using effects... you might do better to add a little reverb if you're wanting to smooth out your sound.

Im using my amps onboard reverb, which is absolutely amazing reverb on this amp.... thats my only effect im using.. thanks for your comment

[Curt Trisko]

Paul, if you're just playing for your own pleasure, I say do what's fun. Once you figure it out for yourself, you'll end up in the same place anyway. Have some fun getting there.

When I was a newer with the instrument, I went through a similar phase. Volume pedal technique was one of the last things that I really started developing. Using compression kept me from getting too frustrated and let me see some results from my playing even before I 'earned' it.

It turns out that I quickly got tired of the compressed sound and now my volume pedal technique has mostly caught up with what I was trying to get from using compression.

[Bob Hoffnar]

Paul,
One way to look at it is if you work on what is the hardest for you then your chops will come back faster. Maybe try playing with the volume pedal not plugged in and see if you can get a smooth, even sound.

I'm not a fan of using the volume pedal to hide mistakes. It doesn't actually work anyway.

Things should go pretty fast if you put the seat time in. You already hear the sound you want to work towards and that is most of the battle.

[Dave Grafe]

1) Get a high-quality rack-mount unit and learn how to use it, and then set it up so you can't hear it.
2) Practice without it except for the time spent setting it up. This will ensure that you do pay attention to the flaws in hand technique that compression can hide.
3) Use it at gigs as necessary
4) Go home and practice some more without it.

[Georg Sørtun]

[...] but man is this rig unforgiving, if i make the slightest mistake it is so obvious

Sounds like an excellent setup
You can hear your mistakes, which means you can work on correcting them. Using a compressor to "smooth things out", may work, but it will not help you much while learning to play.

I do use a "compressor" - before VP - nearly all the time. But, I put it in the sound-chain about 25 years after I started playing steel, so I know how to play without any such "artificial assistance".
I don't use my "compressor" to "smooth things out". In my sound-chain its job is to make it easier for me to milk the inherent tone of my steels, as I do not use any additional effects. Although I set it so the "compression" effect is almost inaudible, it actually makes my mistakes stand out more, instead of covering up for them. That's how I like it

[Ian Rae]

...set it up so you can't hear it.

There is much wisdom in this paradoxical instruction. A compressor makes an instrument easier to hear but should not itself be audible. This is true in the studio or on stage.

[Donny Hinson]

Using a compressor on one or two songs might be okay, but the propblem with many players is they want to use it on everything, and that saps the life out of the playing. Oh sure, you hear all the notes better, but the feeling and dynamics are gone. (There's a vast difference between playing a note or chord, and really expressing it!) While they are used in studios on just about everything in the mixdown, in that case, they are controling them. Most all of the studio work I've done was recorded dry, with the EFX added later. That's because they can take it away if they want. But when you use it as a matter of course, they can't.

In reality, it's a good thing you're hearing all the flubs, because that lets you work on correcting them at the source (which is...between the seat and the steel).

[Curt Trisko]

If a player is looking to improve their skill level as efficiently as possible, I don't think this would be a debate. However, I'm coming from angle of keeping it enjoyable... and therefore reducing the chance of throwing in the towel. I'm thinking that Paul wants to make music more than he just wants to be really proficient. Unless he's in a hurry to get good, I don't see the harm in compromising for some immediate, reassuring payoff. If he really wants to stick with it, he won't settle for the compromise and will throw off the crutches sooner or later anyway.

[Richard Sinkler]

I am totally against using a compressor, especially when learning. Get your hand and volume pedal technique down, and forget the compressor. That's why we have a volume pedal, and good right hand technique. I used an MXR Dynacomp at one time. But, I used it as an effect. I set it up to really squash the sound, kind of gave me the pop that Tele players have. I had one of those 1/4" to 1/4" plugs, and I unplugged from my guitar, unless I wanted that sound (those old MXR effects messed with your tone.

[richard burton]

I tried one once, but the damn thing was so noisy I couldn't hear my steel

[Richard Sinkler]

[Paul Smith]

Gentleman,

thanks very much for your input, looks like im going to "push" through without the compressor, and just be patient, and practice until my blocking becomes second nature, which will only happen with seat time, and loads of patience. Ive only been back at it for a month now, after an 11 year hiatus, so patience is a must... gotta get that right hand going again, and work the muscle memory

thanks again,

Smitty

[Tony Prior]

Good for you, compressors are great tools used properly, there is a saying with regard to compressors.." if you have to ask about using one or how to use it...don't use it".

I recall going to a BOX store recording seminar when they were talking about processing, when the fella got to compressors he said..

These are nice guitar effects, they help make the guitar sound better.

I asked (silly me ) "Are they not meant to tame peaks while recording " ? Answer... "yeah , some people use them for that too"

and with that , the room went silent and there were no more questions...

[Jamie Mitchell]

any thoughts?

smitty

just play.

[Dave Hopping]

I still use an Alesis 3630 sometimes,but I don't seem to miss it when I don't feel like carrying the rack around.

[Curt Trisko]

any thoughts?

smitty

just play.

Bingo!

[Daryl Thisdelle]

I have my own take about compression. If you want it in your signal chain get it. As they say expression comes with your hands and you can have a compressor and still use your hands and volume for expression. It comes down to what ever floats your boat. Every one is different on here and does things differently from the next guy. What works for one fails for another. What is right for one is wrong for another. We all play different and your style maybe right for compression or could be wrong. There is no right or wrong just opinions. You asked and you got a pile.. I play and buy what sounds good to my ears and it is my ears that count.

Daryl

[Jim Sliff]

I'll throw my hat into the "avoid compressors" camp with a caveat.

IF you are having problems controlling your right hand attack and blocking, the LAST thing you need is a compressor - it WILL becomes a crutch and you will not improve.

HOWEVER - once you have your technique under control, a composer that allows you to mix dry signal with the compressed signal can be a useful tool in manipulating your personal tone. I did not use them for decades because I hated the lack of attack control by *me*. But recently I got an Xotic SP compressor, which doesn't have the horrid "squash" or pop of a Dynacomp, and allows you to both control the amount of compression *and* mix that with a completely dry signal.. Wonderful unit.

PS - using a compressor as a "clean boost" is a bad idea IMO. For a clean boost buy a clean boost, and save compression for when it can be used as a "flavor".

[Jim Sliff]

I'll throw my hat into the "avoid compressors" camp with a caveat.

IF you are having problems controlling your right hand attack and blocking, the LAST thing you need is a compressor - it WILL becomes a crutch and you will not improve.

HOWEVER - once you have your technique under control, a composer that allows you to mix dry signal with the compressed signal can be a useful tool in manipulating your personal tone. I did not use them for decades because I hated the lack of attack control by *me*. But recently I got an Xotic SP compressor, which doesn't have the horrid "squash" or pop of a Dynacomp, and allows you to both control the amount of compression *and* mix that with a completely dry signal.. Wonderful unit.

PS - using a compressor as a "clean boost" is a bad idea IMO. For a clean boost buy a clean boost, and save compression for when it can be used as a "flavor".