Compression--in depth (attn Tim Bowen, et. al.)
Cafe, I was originally criticized for going off-topic on another compression-related thread, but I would like to continue the discussion. I have started with excerpted comments/questions from the previously mentioned thread.
Tim Bowen comment: I'm not at all a fan of compressors with mandos that include eight strings and unison courses (compressor is a sonic nightmare on the low G course at stage volumes, in my opinion) - but for your instrument, some subtle compression might indeed be a nice add.
Tim, can you elaborate on your comment about how the compressor is a "sonic nightmare" on the lower G-course? Perhaps it I fail to truly understand compression, but it would seem to me that compression would balance the response of the strings. For example, if I have a radius on my bridge to match the fretboard, then the G and E course would be closer to the magnetic poles of the pick-up. The compressor would work to balance the response between strings by clipping excess gain. Is this correct? If it is I would think a compressor, or at least a compressor in front of an EQ would only help with the lower G-course. Help me understand.
Travis, I base my comments upon playing electric-acoustic mandolins in a variety of real world situations at stage volume, for better or worse. As amplified and/or boosted/compressed, the low G course of an A/E mandolin hates any sort of low mids bump; in fact, it's a recipe for sonic disaster. It "blooms" too much.
It's different with something like a high fidelity Urei LA2A limiter. It's even different with something like a Menatone JAC stomp, which is based on the classic Urei circuit. The thread pertains to stompbox comps, most of which are electric guitar-specific. Most guitar comp stomps bump mids and roll off highs, which is great for something like a Fender Telecaster through a tube amp. However, ROSS and BOSS mids-bumped compression circuits are a no-go with A/E mandolins, in my opinion and experience. I use a Keeley two knobber comp stomp for live, which is probably the best compromise stomp that I've found for my multi-instrument/DI/PA acoustic-electric needs. Nonetheless, low mids remain a factor of choice with A/E mandos; they hate a bump in this regard.
Just my opinion.
Thanks,
Travis
2006 Weber Gallatin, 1984 Flatiron 2MW, Wendler #194, Schwab #177
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