Osiris Posted January 11, 2020 Share Posted January 11, 2020 1 hour ago, SpondonBassed said: ...if he can extract himself from the DoI topic, that is. Bare with me while I toot another couple of lines of jama. Snifffffffffff Right then, where were we? As you've probably gathered compression is a widely misunderstood and divisive subject. Compression is best understood in the context of a band mix, if you're not currently playing with other musicians you'll get a similar experience playing along to some music. But before you start playing around with the various compression models on the B3 (which I think are a great place to start) I'd strongly recommend doing some homework on the subject, get an understanding of what the various controls do and how they affect your dynamics. I can't stress this enough, as I think ignorance is why so many people don't 'get' compression. That's not meant to be a condescending put down by the way, it's just I've seen many erroneous arguments against the subject that, to me, appear to be based on misunderstanding. Anyway, the various comp models on the B3; Each one has a few different parameters rather than the full compliment of controls you'll see on a studio unit. But this is a good thing when starting out as it keeps things simple. With the understanding you've picked up from your homework start having a play and try to get something that works for you. Each model offers a different type of compression, neither one is necessarily better than the other, they're just different. The OptComp models the squishy characteristics of an optical compressor. The DComp does the less than subtle DynaComp flattening of the signal. Far from subtle but useful as an obvious effect. The MComp is one of my favourites, fat and controlled. I like this a lot. Dual Comp is aimed at slappers. Your reputation precedes you. Separate control over high and low bands with an adjustable crossover. Too much of a void in the mids for my taste. 160 Comp does that big, fat dbx style compression. A little dark sounding perhaps but the weight it adds to the rest of the signal makes me do a little wee. My favourite model, I gigged with this for a couple of years on my MS-60B. Have a play and see what works for you. 2 3 Quote Link to comment Share on other sites More sharing options...
steve-bbb Posted January 12, 2020 Share Posted January 12, 2020 17 hours ago, 51m0n said: Jameson's bass tone definitely included being pushed hard to tape for saturation and tape compression.... And then there's the mastering compression after that.... and the dead strings 😝 Quote Link to comment Share on other sites More sharing options...
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