What happened to compression?

Brad Sarno · Post by **Brad Sarno** » 6 Jan 2003 10:11 am

I've been told that in the late '70s and in the '80s that players like Chalker and Buddy were into compression on steel. What's up with that, and where in the signal chain was the compressor?

Brad Sarno

Larry Bell · Post by **Larry Bell** » 6 Jan 2003 11:36 am

I can remember him using an Orange Squeezer and similar devices. I must admit I kinda like that little 'pop' on the leading edge of the note myself. I sometimes use a little compression, but tend to use it more like an effect than an ambiance.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro

Dave Van Allen · Post by **Dave Van Allen** » 7 Jan 2003 7:51 am

typical signal chain with stomp box compressor:

guitar -> compressor -> vol. pedal -> other fx -> amp

compressor after volume pedal creates a conflict; back off vol ped and comp ramps up gain....defeating the purpose....

chas smith R.I.P. · Post by **chas smith R.I.P.** » 7 Jan 2003 9:44 am

A compressor is the best way to take the life out of the music. It's function is to cancel expression.[This message was edited by chas smith on 07 January 2003 at 09:45 AM.]

Buck Dilly · Post by **Buck Dilly** » 7 Jan 2003 12:22 pm

When I play guitar I use it all the time. Steel seems to sustain quite well without it. I have tried good studio compressors but prefer the wide open attack for live situations.

Steve Hinson · Post by **Steve Hinson** » 7 Jan 2003 12:26 pm

The record that sticks out in my mind as a good example of compression as an effect is"Different Kind of Flower"from the Ray Price and the Cherokee Cowbows album"Reunited"...that's a great sound that I tried to get for years...never could quite get there(not the first time that's happened)...

Jon Light (deceased) · Post by **Jon Light (deceased)** » 7 Jan 2003 12:43 pm

I've got a short handfull of patches I use live on my Pod. Primarily a Twin based patch that sounds just great at home, and a less fat version of same with compression for occasional zip. But Sunday nite at the bar I kept coming back to the compressed patch all night for the punch, pop, and cut. The fat patch sounded great for swinging and ballads but for sheer impact, I'm coming to appreciate compression. But this is entirely about attack. I've got all the sustain I need in my guitar.

Matt Steindl · Post by **Matt Steindl** » 7 Jan 2003 4:39 pm

99% of all steel players use compression, its called a VOLUME PEDAL!

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Mattman in "The Big Sleazy"-:
S-10 Dekley, Suitcase Fender Rhodes, B-bender Les Paul

Ricky Littleton · Post by **Ricky Littleton** » 8 Jan 2003 1:40 am

I use my stomp box compression whenever I use the distortion. Mostly for my southern rock and Grateful Dead-type stuff. Rarely if ever have I used it with country except maybe for "Boot Scoot Boogie", but again that's with the distortion for the slide lines. I do like the "snap" at the attack though.

Just my $0.02 worth.

Ricky

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Emmons LeGrande - 8x4
Session 400 Ltd
Dan-Echo, E-Bow, Ibanez Distortion, Boss Comp./Sustain, Ibanez Auto-Wah

Larry Behm · Post by **Larry Behm** » 8 Jan 2003 4:57 am

I feel that compression adds a different kind of expression. I also use it on a couple of rock things to sound more like a guitar player than a steel player on something like Long Train Running. I can achieve sustain for days on a single note like guitarist Roy Buccanan (sp) , pretty expressive.

Chas please don't come back and burn me here, just my thoughts also.

Your friend from 20 years ago at the Emmons/Newman C6th class in Stockton.

Larry Behm

Larry Bell · Post by **Larry Bell** » 8 Jan 2003 7:09 am

As usual, Mr. Hinson hit the nail on the head.

The sound that Buddy got on the Ray Price 'Reunited' album was superb and he did use that hint of compression on the leading edge of the note.

I agree that too much compression sucks the life out of the music, but that's true of reverb and delay and . . . all effects. The trick to using effects is not owning every gimmick that's available, it's applying them in ways that add to the music.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro