Compressor recommendations for squishy Gilmour.

ac30irons

Active member
Hey all, I’m looking to build a compressor for Gilmour lead stuff, more on the modern side, think Live in Gdańsk/Pompeii 2015 etc.

His tone on Coming Back To Life at Pompeii is epic.

Doing some reading he has been using a Cali Slide Rig, Effectroe PC-2A, Demeter Computator, Cali 76.

Iv built a Compulator and wasn’t over impressed, it was so subtle and just affed noise. Sold the bugger.

Had a look at the Wampler Ego but there appears to be a lot muckin about with the specs of the transistors ! Not down for that I don’t think !

Or the Thorpy ???

I’m thinking of trying a Ross Type as I’ve already tried an optical. What do you guys think ?
 
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All compressor types have their plusses & minuses. Personally, I prefer opticals for their simplicity and low distortion. For something simple, try the Hollis Flatline.

I've read that Mr. Glimour stacks compressors and I can see the advantages there. One can put pedals between the compressors and/or set each compressor to a relatively mild mount of compression and sill get all the compression you need.

Shameless plug: Try the Delegate Boneyard edition. The various knobs provide plenty of control over sustain, compression and dynamic response. It is critical to obtain an LDR that is fast and has a large resistance range. You want <10K in high room light and >5Meg in total darkness. The knobs interact, so be patient and take your time finding the settings you like.
 
All compressor types have their plusses & minuses. Personally, I prefer opticals for their simplicity and low distortion. For something simple, try the Hollis Flatline.

I've read that Mr. Glimour stacks compressors and I can see the advantages there. One can put pedals between the compressors and/or set each compressor to a relatively mild mount of compression and sill get all the compression you need.

Shameless plug: Try the Delegate Boneyard edition. The various knobs provide plenty of control over sustain, compression and dynamic response. It is critical to obtain an LDR that is fast and has a large resistance range. You want <10K in high room light and >5Meg in total darkness. The knobs interact, so be patient and take your time finding the settings you like.
Thanks for the reply Chuck. As it happens I have built the ‘none’ boneyard edition on a UK PCB, however someone bought it off me. What I can say is that it was bloody awesome , so I can imagine yours is double awesome. I prefer 1590b enclosures but next time pedalpcb has a sale on I might make a purchase that makes it worth the shipping to the UK.
 
DynaComp is not the best compressor design out there, not even at the time. The Electro Harmonix Black Finger is very smooth, has less noise and distortion.

Unfortunately, the DynaComp became the defacto blueprint for compressors that followed, such as the Ross. The EQD Warden is a poorly-executed optical version of the DynaComp. The Boneyard Delegate corrects the shortcomings of the Warden.

I wanted to like the Engineer's Thumb, but couldn't. The feed-forward method of AGC (automatic gain control) looks good in theory, but does not track well in practice and tends to breathe.

The Solo-Dallas Storm (PPCB Closed Circuit Booster /Limiter) works very well but the amount of available compression is limited (no pun intended). The Hollis Flatline employs the same concept.
 
I'm a huge fan of the Cali 76 -- especially on bass, but I agree with @Chuck D. Bones. If you're looking for smooth clean compressor for guitar, the Black Finger will give you good compression without overly coloring your sound. Full disclosure... I do have a Delegate Boneyard in my build pile, but I'm so happy with my Origin Effects Cali 76 that it hasn't gotten my attention yet.
 
DynaComp is not the best compressor design out there, not even at the time. The Electro Harmonix Black Finger is very smooth, has less noise and distortion.

Unfortunately, the DynaComp became the defacto blueprint for compressors that followed, such as the Ross. The EQD Warden is a poorly-executed optical version of the DynaComp. The Boneyard Delegate corrects the shortcomings of the Warden.

I wanted to like the Engineer's Thumb, but couldn't. The feed-forward method of AGC (automatic gain control) looks good in theory, but does not track well in practice and tends to breathe.

The Solo-Dallas Storm (PPCB Closed Circuit Booster /Limiter) works very well but the amount of available compression is limited (no pun intended). The Hollis Flatline employs the same concept.
You have probably answered this a thousand times, but what’s the difference in yours the original EQD (I bloody loved it) I’ve also noticed that you have said the LDR needs to be 5m dark. All the 5516s I can find are 500k dark
 
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You have probably answered this a thousand times, but what’s the difference in yours the original EQD (I bloody loved it) I’ve also noticed that you have said the LDR needs to be 5m dark. All the 5516s I can find are 500k dark
 
Gilmour used to use the MXR Dyna Comp back in the day. But it is so not obvious on the classic Pink Floyd records to me.

A Strat into a Dynacomp (squishy and muted treble), into a 100w Hiwatt (stiff and wide dynamic range) sounds about right for early Floyd. 'Breathe' would be a good example. However, that was probably on a light setting enhanced by a Fairchild or a mixing desk studio compressor before tape (which also limits). Lots of compression going on.
 
A Strat into a Dynacomp (squishy and muted treble), into a 100w Hiwatt (stiff and wide dynamic range) sounds about right for early Floyd. 'Breathe' would be a good example. However, that was probably on a light setting enhanced by a Fairchild or a mixing desk studio compressor before tape (which also limits). Lots of compression going on.
Yeh dude. I’m actually looking at the more modern live stuff like live in Pompeii 2016. Rumour has it he was using a Cali76 (I don’t have the £) for that and a Compulator which I have had. It was the noisiest lack of compression compressor I have ever had.
 
Yeh dude. I’m actually looking at the more modern live stuff like live in Pompeii 2016. Rumour has it he was using a Cali76 (I don’t have the £) for that and a Compulator which I have had. It was the noisiest lack of compression compressor I have ever had.

'Live at Pompeii' is a great recording! Yeah, an 1176 derivative is not squishy or noisy, like an OTA or VCA compressor. Studio engineers describe the 1176 as making the music jump off the page and when the effect is turned off, it is very noticeable that it doesn't sound as big.

I built the Median Compressor (an 1176 derivative) that does just that. Compression, attack, release and tone are all around 8:30 (low, fast, fast & bright, respectively), blend and level are around 2:00. Makes a Strat jump.

I also have a DoD 250 (optical) which I modified (faster attack and less gain in the compression), and it too sounds big, but you can hear it as a compressor once in a while. It is also Strat friendly.
 
@andrewsrea which mods did you make to your DOD? Sounds like exactly something I would like to do to my board

For reference, I have an early 1980's grey-box DoD 280 compressor. As I understand it, the DoD250 had tweaks in its evolution. I acquired this in 1992 (disassembled), from a friend and revived it / modified in the past few years.

My Mods:
- R5 is the resistor in parallel with the photoresistor of the optoisolator which provides negative feedback to the gain stage, when its internal led gets brighter, from playing harder. I changed this from the stock 3M9 value to a 910K, which tamed it by providing more practical / usable travel of the 'compression' control.
- C6 is the cap which affects both the attack and release timing, which connects the collector of Q1 & Q2 (tied together) and drains it to ground. The lower the value, the faster it gets and the less it overreacts to bass frequencies which have more energy than higher frequencies. I changed this 47uF -16v cap to a 33uF - 25v. I tried a 22uF and it was nice on the attack, but too fast for me on the sustain decay. I've read some folks going as low as 4.7uF. For reference, R10, the 4K7 which controls the led brightness, connecting the led legs of the optoisolator to Q1, will change the attack, but will also mess with the intensity of the compression. Optoisolators are inherently only so fast in response, in which they let more fast transients in than other types of compressors. Given these two conditions, I found it better to mod R5 & C6 and leave R10 be.
- Changed IC1 from a TL022 (was extremely noisy, IMHO damaged) to a TL082 via socket, which was the next low-noise-low voltage evolution of the TL022. The TL082 is FET based and is faster with a higher slew rate, than the bi-polar transistor based TL022. IMHO and in this application, the TL082 is clearer, but not too HiFi.
- Added a 47pF cap connecting pins #5 & #6 of IC1b. This noticeable reduced the hiss compressors have and the reduced harshness. Still plenty of sweet treble on tap. Note that I only did it on the first gain stage, where the hiss here gets multiplied in gain stage 2, in IC1a.
- Power connector / battery hack. IDK if the original DC power jack was 1/8" or the one that is on it now, which is a switched 5mm x 2.3mm DC jack that mounts into a 3/16"hole. The 2.3mm center pin is not often used, especially in the pedal supply world where 2.1mm is standard, so I built a small lead cable which has a 5mm x 2.3mm plug on one end and a 5mm x 2.1mm DC jack on the other. This way, I can use my pedal supplies (preferred), an external 9v battery or an internal battery (by unplugging the hack).

Hope this helps. 20240816_091711.jpg
 
You might want to try a Boss CS-2 for this application. It’s a good middle ground and basically plays nice with every form of drive/fuzz/distortion pedal I’ve ever used it with.

For that song in particular, a Tube Driver plus CS-2 is going to work great together.
 
dbx 163 is cheap used, and works really well with minimum fuss. VCA-based, from some of the founding fathers of VCAs. I really like dbx and their IC successor, THAT corporation. They're experts in their field.
Their design notes section is top-notch; served as my first introduction to compressor design.
 
Origin's Cali 76 Stacked Edition? It's an investment for sure. I don't think there's anything like it on the market (on a budget) that comes close to what it does in a single package. I cannot play my lapsteel without it anymore; the amount of detail is brings to the surface is staggering. Even with my single coil. there's no noise to speak of in the useable range of the pedal.

"In essence, the Cali76 Stacked Edition is the missing link between the Cali76 and SlideRIG ranges. A brand-new control – the gold ‘Thru’ knob – determines how much signal is fed from the first compressor to the second. Incredibly simple to use, this control allows the Stacked Edition to deliver not only single-stage Cali76 and dual-stage SlideRIG sounds but also everything in between.

Independent LED VU meters let you see exactly how hard each stage is working, while each of the compression stages features its own combined Attack/Release control. With the Cali76 Stacked Edition, you can combine two distinct flavours of compression – one to add sustain and fullness and the other to subtly limit any stray peaks, for example – or max out both stages for a super-sensitive, ultra-sustaining “clean overdrive” effect.

When adjusting the controls on the SlideRIG, parameters of both stages are adjusted simultaneously, for example, adjusting the ATT/REL will change both stages to the same times. The Cali76 Stacked Edition allows these parameters to be set independently from one another, for example, the ATT/REL for the first stage can be set fast/slow and the second stage can be set slow/fast."
 
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