Which compressor for live use?

[jozz]

I am currently in the rehearsals for a couple of theater shows next fall. This raises some concerns over my sound - as I've been told a couple times over the years: "you might add a compressor to your kit". My sound is not bad per se - but if I record my Bugari over my internals and process the sound in my home studio, the box sounds like a million dollars. Only if I'm very particular about my bellows I can get close to that sound live with minimal fuss for the engineer. Or, when I'm in the sure hands of an engineer that has much experience with processing accordion.

Because these shows will be sort of hi-profile and for a quiet audience (not what I'm used to) - I'm finally thinking about following up and getting a comp. To stay in control and lessen the load for the engineer so to say.

Do any of you guys play with a compressor on stage?
- if so, what's your setup
ideally it would be pedal format but I know digital will not always work great - so would be comfortable with 19" tube stuff in a rackbag as well.
(looking at up to €1000 range)

 

[debra]

I am currently in the rehearsals for a couple of theater shows next fall. This raises some concerns over my sound - as I've been told a couple times over the years: "you might add a compressor to your kit". My sound is not bad per se - but if I record my Bugari over my internals and process the sound in my home studio, the box sounds like a million dollars. Only if I'm very particular about my bellows I can get close to that sound live with minimal fuss for the engineer. Or, when I'm in the sure hands of an engineer that has much experience with processing accordion.

Because these shows will be sort of hi-profile and for a quiet audience (not what I'm used to) - I'm finally thinking about following up and getting a comp. To stay in control and lessen the load for the engineer so to say.

Do any of you guys play with a compressor on stage?
- if so, what's your setup
ideally it would be pedal format but I know digital will not always work great - so would be comfortable with 19" tube stuff in a rackbag as well.
(looking at up to €1000 range)

Decades ago I built my own compressor (using "Elektuur" schematics). Used it for live performance so as to avoid very soft passages to drown in the background noise of a concert hall (with air conditioning running). Sadly I no longer have it, otherwise I would gladly give it away...

 

[JerryPH]

Playing live, I’ve never had the need for a compressor. A good compressor adds little to no tonality changes, just has the ability to boost the lower volumes and possibly lower the volumes that come close to clipping (a limiter does that second task better).

A compressor, then, simply reduces dynamic range.

Some mixing boards have integrated compression built-in.

I have limited experience with hardware compressors, but I know a lot of rock musicians that swear by the Warm Audio WA-1B Optical Compressors for a mono signal. Those should be somewhat under your 1000 Euro range.

 

[PeterF]

Good advice from JerryPH.

You may actually be looking for a pre-amp, not a compressor. I have a Grace Designs Alix that I use a lot in amplified situations.

ALiX instrument preamp / DI - Grace Design

gracedesign.com

It's a single channel preamp with 4 bands of EQ, a gain knob, a mute button, a notch filter (great for quickly isolating and removing feedback frequencies), and a range of connections on the back, including an effects loop out and in. It's super clean and sounds great and gives you a lot of control over your sound. Invaluable if you're playing through a sound system. I'm not a professional player, but I know a number of professional accordionists who use these. The mute button may be the most useful in a theater situation, so that you can totally mute your instrument when you're not playing for a bit. Removes the danger of accidental notes through the sound system, etc. They also make a two channel version, which is great if you want to have separate controls for the LH and RH.

It's not cheap, but you get what you pay for. Very solidly built. It's a professional piece of equipment that will last a lifetime.

 

[jozz]

Decades ago I built my own compressor (using "Elektuur" schematics). Used it for live performance so as to avoid very soft passages to drown in the background noise of a concert hall (with air conditioning running). Sadly I no longer have it, otherwise I would gladly give it away...

the Elektuur magazine? a blast from the past - is that still going?

 

[jozz]

A compressor, then, simply reduces dynamic range.

Some mixing boards have integrated compression built-in.

I have limited experience with hardware compressors, but I know a lot of rock musicians that swear by the Warm Audio WA-1B Optical Compressors for a mono signal. Those should be somewhat under your 1000 Euro range.

exactly that's the idea
primary goal is to feed the engineer/board an already controlled signal - to get him in the right direction
second goal is to feed the band a controlled signal to monitor - easier on the ears, and better in the monitor mix

 

[jozz]

Good advice from JerryPH.

You may actually be looking for a pre-amp, not a compressor. I have a Grace Designs Alix that I use a lot in amplified situations.

ALiX instrument preamp / DI - Grace Design

gracedesign.com

It's a single channel preamp with 4 bands of EQ, a gain knob, a mute button, a notch filter (great for quickly isolating and removing feedback frequencies), and a range of connections on the back, including an effects loop out and in. It's super clean and sounds great and gives you a lot of control over your sound. Invaluable if you're playing through a sound system. I'm not a professional player, but I know a number of professional accordionists who use these. The mute button may be the most useful in a theater situation, so that you can totally mute your instrument when you're not playing for a bit. Removes the danger of accidental notes through the sound system, etc. They also make a two channel version, which is great if you want to have separate controls for the LH and RH.

It's not cheap, but you get what you pay for. Very solidly built. It's a professional piece of equipment that will last a lifetime.

it looks like a great tool for tone!
it seems to lack the one thing that i need, compression?
I have my Mute on my wireless send, I agree this is very nice to have - allows me to get on and off stage with the box strapped on

 

[debra]

the Elektuur magazine? a blast from the past - is that still going?

Originally called Elektuur and just a Dutch magazine they expanded to other countries and languages over 4 decades ago, and called themselves Elektor. After some years they also started using that name in the Netherlands.
Check out elektor.nl.
I had electronics as a hobby for decades, published some articles (designs) in Elektor and even published a book with them on the automation of model railroads. To promote that book at trade fairs they even had me build a demo model railroad they could use (the automation done using their "Junior" computer.
I no longer follow Elektor as I essentially stopped "playing with" electronics when everything started to be based on programmable chips instead of discrete components and simple integrated circuits like ttl and cmos logics and also opamps.
The only electronics I still mess with are built-in microphones for accordions.

 

[PhiliGol]

Then I'm sure you remember this one