The Dyna Comp has this as a fast/slow binary choice, while Wampler’s Ego and the CP-1X have dials. Others will have controls for recovery, which is the length of time before your compressed signal relaxes back to normal. Some compressors will have controls for attack, which sets the reaction time for the compression to take effect. With this in mind, compressor pedals need at least two controls to be effective. Generally, electric guitar sounds are pretty compressed. You don’t need additional compression when you track the guitar unless you use a clean (undistorted) setting on your guitar. It is basically the amount of time the compressor waits until engaging once the threshold has been exceeded. The attack helps ease into the threshold instead of just stomping the gas and compressing all at once. Meaning, how long do I wait to reach full compression. Fast release times will give more perceived clean volume along with a more transparent compression. A medium attack time of 20ms to 40ms is a good starting place. The release time (also known as decay time) determines how quickly the compression goes away. Slower attack times allow the initial transient of the note to come through, for a punchier sound. The Empress Compressor just might be the choice guitar compressor in terms of sound quality. Right now your attack is set to a moderate time. Attack – Attack controls how quickly the compression actually starts to happen. This happens because the period of a low frequency wave is actually quite long. Slower release times will yield more compression and a slower, mellower bloom. This does mean the pedal can take a bit longer to learn how to use, especially if you’re used to more streamlined compression stompboxes. 3) Select an Appropriate Attack Time. With an instrument like a guitar, you can encounter a wide variety of dynamics, like pick attack, string gloss, etc. You want to set the attack time of your compressor as fast as possible to deal with the transients, but you notice that when you do, an unpleasant distortion occurs. How It Works. It’s designed with a mind toward complete tone control, and the array of onboard shaping options reflects that. For example: Say you’re trying to tame the unruly attacks of a bass guitar played with a pick. This means you should hear the attack of your bass notes come through. Considering that the guitar is a plucked instrument with an inherently heavy attack and relatively sharp decay, compression can either enhance or radically alter the sound of a guitar. If the attack is fast, all sharp peaks will be cut, and the part will be smoother. At this point you're ready to deal with the attack time. If you want to use a little compression to bring the guitar forward and give it some punch, try these settings: Threshold: –1dB. Faster attack times will react to the front of the note faster, while slower attack times will add punch to the sound as the compression reacts slower on the transient. Ratio: 2:1–3:1.
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