About the Compressors (from various sources. Links below):
A bass compressor is easily the most often used effect used by bassists. It’s also one of the most unglamorous effects.
If you have a compressor, you will probably always use it as you play.
Compressors fall into the family of dynamic effects. In music, dynamics refer to how loud or soft a sound is. Dynamic effects alter how loud or quiet a signal is.
What is Compression?
Compression squeezes, or compresses, the dynamic range of a signal. A compressor will reduce the volume of loud notes which in turn allows the overall volume to be boosted.
An excellent example of compression is when you hear a vocalist singing a quiet passage followed by a loud one. How come you can hear the whisper quiet passage, but the loud one doesn’t distort and blow out your eardrums? Most likely compression is being used on the vocals to compensate for the wide range of dynamics. The loud vocal passage’s volume is reduced by the compressor making room for the quieter passages to be turned up.
Why Do Bassists Use Compressors?
Using a slight amount of compression on bass beefs up your bass tone a bit. Compression can give your bass sound that smooth, glassy tone. You can get a punchier sound using compression. Compression can really balance out very dynamic playing styles like slap bass.
If you use too much compression your bass tone might sound lifeless. But, just a little makes a big tonal difference.
A bass compressor is about the only must-have effect for bassists regardless of the style you play. I highly recommend getting a compressor both for live playing and home recording. The average listener won’t know it’s there, but you will enjoy the subtle effects.
Compression Threshold
Compressors usually have an adjustable threshold setting. The compression threshold is the volume level (gain) at which the compression effect is engaged. Any signal passing through the compressor which is louder than the threshold setting will be compressed. Any signal lower than the threshold will be unaffected.
If you can adjust the threshold setting on your compressor, adjust it to taste. It depends on if you only want really loud notes compressed or most everything compressed.
Compression Ratio
The compression ratio selects the amount of compression to apply on signals above the threshold. The ratio might be something like 3:1 (3 to 1). That means for every 3 dB you send to the compressor beyond the threshold only 1 dB comes out. A 1:1 ratio would not compress anything.
An ∞:1 (infinity to 1) means any signal above the threshold sent to the compressor only 1dB comes out. This is known as limiting. You may see units called compressor/limiters. Limiters are often used to prevent damage to speakers. (Many TV sets now include limiters to squash loud commercials.)
On some effects units the ratio is just marked as ‘compression’ or ‘amount’. This setting increases the ratio.
Most bass players use a 2:1 up to 5:1 compression ratio. You really have to listen closely to adjust it. It’s very subtle. At first you might wonder if it’s even on and working! Try starting at the highest amount of compression and you’ll hear the dynamics squashed. Then slowly lower the compression amount until it suits your taste. A little goes a long way.
Makeup Gain
A compressor is a gain reduction device, therefore all compressors have a make up gain control so that if you are using 3db of gain reduction you can turn the output by that amount and still retain the same headroom.
Sources:
http://www.tunemybass.com/bass_effects_guide/bass_compressors.html
http://www.tunemybass.com/bass_effects_guide/bass_compressor_settings.html
http://www.sae.edu/reference_material/audio/pages/Compression.htm
http://en.wikipedia.org/wiki/Dynamic_range_compression
About Pod HD / M Series:
We are all at a bit of a disadvantage with the L6 Dynamics because a) amost all the parameters are fixed and b) they don't give you ANY information about the specific parameter settings including Ratio, Attack, Release, plus there is no Gain Reduction metering.
From the HD500 Manual ... they ONLY mention Threshold, Sustain, and Level in explanation yet the Vetta Comp uses "Sensitiviy" and "Amount" .....
• Threshold: For compressor FX, lower values result in greater compression, along with an automatic makeup gain stage dependent upon the Threshold setting.
• Sustain: Some compressors include Sustain, which is much the same as a Threshold control, but functions in reverse - higher settings add more compression and thus more sustain and squishy goodness.
• Level: Adjusts the overall volume - higher settings typically offer an output boost.
Tube Comp
Based on the Teletronix® LA-2A® studio compressor, is a fat dirty sound that is supposed to be like a vintage tube/optical compressor. It adds a layer of subtle distortion, and pumps the lows. Seems to be one of the most prefered choices by the (M and HD series) users when using a bass (see talkbass link below).
(quote: "It also has the most gain of all the models, such that I had to set the output level at minimum in order to avoid clipping the rest of my gear. So when I used it to push a tube amp into overdrive, it sounded really terrific--but it was almost unusable with a solid-state rig due to the nasty clipping.")
The original LA-2A has 40dB gain.
The compression position on the compress/limit switch on the LA-2A (again, the original thing) is considered 4:1, but really the ratio will fluctuate depending on the source.The LA-2A has a release time which requires about 60 milliseconds for 50% release, and then a gradual release over a period of 1 to 15 seconds to the point of complete release. You may think of the LA-2A as having a “composite” release; made up of several stages. When compression is heavy and/or the signal has been above threshold for a long time, the LA-2A's release will be slower.
Vetta Juice
The ‘Juice’ in Vetta Juice comes from the 30dB of available gain in the LEVEL knob.
It’s got a fixed threshold of -40dB with the SENS knob varying compression ratio from 1.5: 1 all the way up to 20:1 (which is a whole heck of a lot). This combination of design features gives you the option of cranking the level enough to get some serious gain boost, or setting the gain lower and dialing up a smooth, clean sustain.
Vetta Comp
Vetta Comp has a fixed ratio of 2.35:1 with the threshold (that would be your SENS knob) adjustable from -9dB to -56dB.
Up to 12dB of gain available at the LEVEL knob.
In other words, turn the Sens knob ’til you like the way your signal’s compressed, then set the volume with Level.
Boost Comp
Inspired by* a MXR® Micro Amp but with compression and EQ added. (Quote: "It's funny to me that the Boost model has the most controls, when the pedal it was based on has only one knob.")
The Vetta and Boost have the most natural, flattish frequency response of the group, good for "general purpose" use (including for bassists). Of those two, the Vetta is basic and clean while the Boost allows some extra drive and coloration, as well as having two-band EQ.
The Vetta and Boost both have better lows than the Blue, and the highs are about the same as the Red; and the Tube has massive lows, and OK highs.
Just like the majority of other digital comps, it's not so good at peak limiting. You can get some decent limiting in the Vetta mode, with the threshold low, if your playing is steady; but its ratio is only about 3:1, so if you hit it hard and fast (e.g. with slapping), it will certainly not stop those peaks.
However, the Vetta Juice has a widely variable compression ratio and a extra amount of gain to boost
Red Comp
Based on* the MXR® Dyna Comp
The Red model rolls off the lows severely, but has fairly open and present highs. Clearly meant for guitarists who want a bright sound.
)
. As such I am still unable to run through some of the patches, auggestions, and ideas put forward here.
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