#1
I've looked into comps and EQ's to help with this from the G3. It kind of works, but not to the degree I would like. At a point, it starts sounding a bit muddy rather than poppy and scratchy. I've been boosting mid-highs as well, which helps some.

I'd like to avoid any comps that reduce my dynamics significantly, and I want to avoid noise but compressors essentially do those exact things. But if a comp can be used with an "attack" parameter with minimal dynamic loss/noise, that would be rad. I've been looking into Dave's Comp from Baroni Labs.

Any suggestions? EQ frequency bands? Other comps? Other effects? No budget for right now.
Last edited by Will Lane at Apr 29, 2015,
#2
What gear are you using, and what are kind of music are you playing? If you playing hard rock or metal, you may be using too much gain. Too much gain will start to cause the muddyness and smother your attack. Dont use a compressor at all. Roll back on your bass some. Use more mids and treble.

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#3
Compressors are pretty much designed to bring your transient down to the same level as everything else.
#4
^ not really.

If you use a compressor with a long attack time and a high ratio you'll end up with a pretty sharp transient at the beginning of the sound and a pretty compressed rest.
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#5
I must not be understanding your request completely but it sounds like the last thing you want is compressor. Maybe if you explain what type of guitar and amp you are using it might help.
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#6
Compressor is your answer. Slow attack means the compressor won't 'turn on' until after the intitial attack, thereby increasing the level of attack compared with the decay envelope of your signal (the part that gets squished). You can then bring up the overall volume until your attack is as prominent as you would like. I am a big fan of slow attack compression for heavily rhythmic playing, to really accentuate the beat.
#7
This may or may not be what you're after, but try boosting the 2k -4k frequencies a bit. This brings out a little more of your initial attack and increases "bite" as well as helping cut through a mix. But you've probably already tried that.
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#8
What you really need is an upwards expander.

What effect do you wanna achieve exactly tho?
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#11
Okay, I just checked out the compressors on my G3 and they are incredibly lacking compared to my $30 pedal compressor. They don't seem to do much but make it sound harsh and woofy whereas I specifically use the pedal to add punch and sparkle to my clean tone, and it is effective. So, don't discount a compressor just cause the G3 can't do it. Its a frickin' sweet lil Pandora 's box of fun but it is what it is as far as sound quality. On the cheap, check out the Biyang CO-8, I swear by mine, love it, only $30-$49.
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#12
Try an EHX steel leather.
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#14
Every pedal advertised as a bass pedal would work for guitar.
Some may sound funny, and judging from what I've heard it will work good enough.
By any means try it before buying one though, unless you find one for a very good price.

I suggested you trying it 'cause it's the only upwards expander designed for guitar.
You may as well use a pre and whatever sensibly designed expander, but I'm guessing you're more of a guitar pedal form type of guy.
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#15
It sounds like what you are looking for was something Chet Atkins played around with in the 50"s. Chet had pickups installed into the neck of his guitar under the low E and A strings. He used a thumb pick on those two strings to play a bass style accompaniment expanding the Merle Travis style of picking. He was then able to send the output of the two neck pickups to another amp and use his EQ to make them bass heavy and cut out the mids and treble. With an octave pedal he could have created a great bass sound but he was years ahead of his time.It is actually a great idea that no one seemed to follow up on.
Note the pickups under the E and A strings between the frets at the end of the neck.
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Last edited by Rickholly74 at May 1, 2015,
#16
Hi gain and compression squashes the dynamics by design and reduces perceived attack. Running squeaky clean you greatly increase your dynamic range and attack. A compressor with a slow attack will help some but any compression will reduce the perceived dynamic range when used.

Compression simply raises the floor between softest and loudest notes. If your clean guitar has a 50db dynamic range and your hi gain compressed guitar has a 20db dynamic range, the hi gain/compressed will be perceived as louder but with less attack differential even with a slow attack setting.

Technique is usually the best solution.

I listened to a few of your soundcloud tracks and there is quite a bit of signal clipping throughout. Once you have maxed out the dynamic range of your system, no more attack transient is possible.
"Your sound is in your hands as much as anything. It's the way you pick, and the way you hold the guitar, more than it is the amp or the guitar you use." -- Stevie Ray Vaughan

"Anybody can play. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent." -- Miles Davis

Guthrie on tone: https://www.youtube.com/watch?v=zmohdG9lLqY
Last edited by Cajundaddy at May 1, 2015,
#17
Quote by Cajundaddy
I listened to a few of your soundcloud tracks and there is quite a bit of signal clipping throughout. Once you have maxed out the dynamic range of your system, no more attack transient is possible.
Right. The primary reason for that is my mic quality, and I'm still working towards getting an interface. I wanted to boost my attack transient particularly to help within a mix in a live setting, through a recording I'd need better recording gear first. I presume you just mentioned those tracks as an example :p

For now I think I'll try to stick to messing with EQ, possibly messing with the Steel Leather as well. It seems to mostly just be a high-frequency accent, but I'd give it a shot.
Last edited by Will Lane at May 1, 2015,
#19
Quote by Will Lane
Right. The primary reason for that is my mic quality, and I'm still working towards getting an interface. I wanted to boost my attack transient particularly to help within a mix in a live setting, through a recording I'd need better recording gear first. I presume you just mentioned those tracks as an example :p


You didn't say in your OP whether this was for live or recorded so we could only guess. "clipping" quite literally means cutting off transient peaks and it can happen both live and recorded any time you exceed your dynamic bandwidth. Music loses a lot of life when you bang the clip light so just try turning everything down first and see if that fixes the problem. Even a $10 mic will record/live reinforce guitar pretty well if the engineer has good skills, gets his input gain right and stays out of the red. Been there, done that. Trust your ears.
"Your sound is in your hands as much as anything. It's the way you pick, and the way you hold the guitar, more than it is the amp or the guitar you use." -- Stevie Ray Vaughan

"Anybody can play. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent." -- Miles Davis

Guthrie on tone: https://www.youtube.com/watch?v=zmohdG9lLqY
Last edited by Cajundaddy at May 1, 2015,
#20
Quote by Tony Done
Which compressors have an attack control that has a significant effect" The Boss CS? I've got attack controls on two compressors I built, and their effect is subtle to non-existent depending on the pickup.


This is the rack unit I used to have in my live rig. The attack control does work but set it too long and things get pretty weird sounding.

http://www.ebay.com/itm/Furman-LC-6-Stereo-Compressor-Gate-Vintage-Rack-/170623373172
"Your sound is in your hands as much as anything. It's the way you pick, and the way you hold the guitar, more than it is the amp or the guitar you use." -- Stevie Ray Vaughan

"Anybody can play. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent." -- Miles Davis

Guthrie on tone: https://www.youtube.com/watch?v=zmohdG9lLqY