OK, I never used to use compressors on my own recordings/mixes. I got 4 different models of Symetrix compressors (cheap) to start with. I am now able to recognize the "sound" of compressors on old recordings and over squashed modern recordings.

My question however stems from always reading that there is no copressor that is best for everything. Rather, kick, OH, snare, vocals, bass, etc. all require something different for good results. Well, without owning many different comps, how do I know what to use or choose a comp for a specific job? Also, how do I figure out what my Symetrix comps are good for? If you answer "by using what you have", I'll be lost as I'm asking how I'd even figure this out? Thanks for your patience with me.

Experimentation is the only way to really approach this. Spend teh time at your board running things through the comp while twisting the knobs. See what works on what. Try running a comp sound in parallel with the uncomped sound.

That said, the difference between several models of a single manufacturer's compressors are less likely to be all that different.

I'm all for trying and using my ears to learn this for myself, but I don't have $1,000s of comps to try this so I gotta ask the people who do. People have made comments that my Symetrix comps aren't what you would want to use for this or that. Or that these comps aren't the ones you would want for your "only" compressor. So I'm trying to figure out both what these are good for, and how to figure out what comps are good for specific applications.

i got just one word for you. distressor. you could probably hire one for a few days/weeks to see what you think of it. it's RIDICULOUSLY versatile. it can 'do' a decent impersonation of an 1176, la2a etc., and has a fair dollop of personality itself.
it was my induction into the 'pro' end of the market, and, no shit, it helped me understand compression, and it's effect on sound. it works brilliantly on a huge variety of things; it made me see how, for example, an 'opto' setting does to a bass or piano, or what an 1176 does to guitars. really really hands on eductational.

Yes, my friend has one of these and everybody raves about them. However, my question isn't regarding finding a good compressor... Rather, I want to know when people say "X compressor is good or bad for that" or I wouldn't use X compressor for that" how to figure out how determine that myself. I have Symetrix 225, 501, and CL-150 compressors. I could plug them into any source, but don't know what they are really good or bad for. Vocals? Bass (I hear a yess on bass). Kick? Overheads? Snare? The 225 is linkable stereo (I read the 225 is boring on stereo buss). If I look at X compressor, how do I know if it would be good for my applications? I need to know how people are basing "I wouldn't use X for that".

Derrick wrote:I need to know how people are basing "I wouldn't use X for that".

Cop out answer

endofanera's answer may be facetious, but it really is true. The answer to the question you've asked is primarily based on one's own taste and experience with different boxes. In one of your posts you mention that you have a symmetrix 225, you mention it's stereo capabilities, then you say:

I read the 225 is boring on stereo buss

Well, is it? Have you spent lots of time using it on your 2-buss and analysing it's strengths and weaknesses? What did YOU think? And what exactly does "boring" mean in the context of the information you read? It's been my experience that "I wouldn't use X for that" is a statement that is as full of personal bias about manufacturer and topology as it is about experience, functionality or some perceived "appropriateness of use". I'm as guilty of this as the next guy...

I'm trying not to be a jerk here, but realistic. You'll read all sortsa stuff on this here interwebs about which piece of gear is good or bad for a particular application, but you gotta take alot of it with a healthy dose of salt. Only you can decide what sounds good for your music, your tracking/mixing style, your monitoring environment, etc. It doesn't lotsa boxes to decide if you like the results you get with your current gear. It takes lots of experience with your gear to determine if you like the results you can get with it.

Are you a musician? Do you practice with your instrument to get better? Recording is no different. You gotta practice. You gotta do it repeatedly, making different decisions and trying new things, making notes about the results and analysing the final output in order to get better. I wish it was a simple as "use this", but it really isn't. That experimentation is the FUN. You got some gear. Go have fun with it...see what you learn and apply it as you move forward.

I like your post just fine. It makes full sense. Yes, I find the 225 boring as well. I guess I was wondering if there was anything behind all the comments I constantly read/hear about this being better for that or that being wrong for this. After posting this, I have found out that people are quick to throw out their opinions about how some compressors are great or aweful in certain applications, but don't care to give feedback on their comments. I don't have acess to many different compressors so the using the ear thing and practice using different comps thing are not my option. Therefore I was simply looking for comments on what makes people say what they are saying about different comps. That should have really been my question... "What makes you people say what compressors are good for various applications?" There is something to be learned from that OK?!

IMHO, the RNC is surprisingly good on electric guitar. We have many far more expensive compressors, but for a little smoothing of a guitar track, the RNC does a nice job. Since electric guitar is already so smashed anyways, I rarely run a compressor unless the track needs it for one reason or another. Very high headroom amplifiers that aren't gained a lot in the amp or are used with pedals come to mind. Solid state clean sounds, etc.

I just feel like I can use it without cringing at the compression signature.

I'll second the Distressor recommendation. It is so versatile and easy to get the sound you are looking for. Higher end gear almost always is easier (for me) to dial in a sound and move on. The cheap stuff you end up playing with trying to get it to become less ass-ish.

Chris