last in the chain on this fuzz bass is
an l2 and I play you with and without
and basically we're gonna get level out
of this but it's also gonna help even
out the notes so that it's really kind
of a slab of bass instead of being notes
quieter notes louder which will always
happen with bass because a resonant
frequencies in the room you record the
bass itself will have some dead spots
things like that here's women without
it's just doing the job bringing it up
in level but also every notes exactly
the same level now I'm using a limiter
in this case because first of all a
limiter is just a compressor with a very
high ratio that's it hundred to one is
the definition of now I'm a limiter
instead of a compressor which means
you'd have to go up a hundred DB on the
input before you went up a DB on the
output so it's basically brickwall
compressor is what it really is and in
my mind when I think about compression
first of all I don't use that much
insert compression as you've seen unless
I'm really going for an effect in all
buttons in thing that kind of thing just
because I always lose a little bit of
the natural sound of the instrument but
the way I think about it in my mind is
that with a compressor you're pushing
the tops down like that whereas with a
limiter especially one set up like the
l2 as you bring that threshold slider
down it's like you're pushing your audio
up against the ceiling and whatever hits
the top just starts to flatten out but
not in a purely square wave clipped way
it will start to even things out in a
way where because of the way the gain
structure is you're actually bringing up
the quiet stuff and the loud stuff just
can't get any louder now another way you
could solve this if it wasn't a fuzz
bass and you really wanted to keep the
character of the bass is with a parallel
compressor then you can over compress it
which will severely even out all the
notes it'll also bring up the reverb but
then as you blend that back in what will
happen is
because the compressor is so consistent
it will sort of lessen the difference
between the notes so that's kind of a
best of both worlds thing where you keep
the purely natural sound of the
uncompressed bass or guitar or whatever
it is you're trying to even out but you
get a little bit of the dynamics control
that comes from compressing the hell out
of something so the choice is between
putting a compressor directly on the
instrument putting a limiter on the
instrument instead or using something
parallel is just about how much of the
original character you want to retain
and then you'll start to build up a
library in your head of what sounds good
in those three different modes and then
you just move on from there
