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<div class="signaturecontainer"><font size="1"><b>Good Deals with</b>: <font color="darkslategray">CM1000, Hides-His-Eyes, HeartfeltDawn, <b>Kayzer</b>, kpd78, <b>Neoflox</b>, Sikor, <b>SilenceSketches, Snufkino</b> a. WAWBanks... !!</font></font><br></div><br><br>"Sometimes you've got to stand out to fit in."
I've used a Boss CS-2 for years. I find the envelope really musical, so I've never bothered buying anything else. I don't use compression a whole lot though, and don't even keep it on my pedalboard. I keep it around for studio use, and for situations where I have to play at really low volumes and want some extra sustain.
Don't have much to compare it to, I don't think I ever even tried another compressor pedal...But my CS-3 does a good job for what I need it. Squishy, tone controls, solid construcion,...
I sometimes look around for something similar that's maybe a little less thin/noisy and true bypass, if such a pedlol even exists...But haven't had much luck yet, at least not in the 140ish price range:s
I like Ross clones and Dyna-Comps (which are very similar circuits) and all of the compressors that are clones of them or were highly influenced by them, such as the Keeley compressors, but what I personally use more than anything else when it comes to compressor pedals is a custom made Orange Squeezer based pedal with external level and bias controls. I just like the way Squeezers sound and what they do to the attack. Think "Sultans Of Swing."
"Look at it this way: think of how stupid the average person is, and then realize half of 'em are stupider than that."
- George Carlin
"It shouldn't be expected that people are necessarily doing what they appear to be doing on records."
- Sir George Martin, All You Need Is Ears
"The music business will be revitalized by musicians, not the labels or Live Nation. When the musicians decide to put music first, instead of money, the public will flock to the fruits and the scene will be healthy again."
diamond for sure, I've used several others that were okay, this ones' just too clean, too nice, too quiet. Comps are really one of those effects you have to play for yourself. It's alot to do with how your guitar playing feels. Diamond sounds great, the tild eq is nice simple and effective.
Never liked comps into distortion or fuzz. Have yet to find one that sounds good, this one is less bad than average. Though the comp with clean tones, modulation, verb, delay and triggerable effects are where your comp will really shine. The diamond shines brightest imo.
I ended up buying the Mad Professor Forest Green Comp, and I love it. Compared it to a lot of other stuff, and it won out for what I wanted to do (mostly just even out the volume when fingerpicking). I had tried one at NAMM a few years back and loved it, and I'm definitely glad I have one finally.
That said, the EQD Warden looks killer. Can't wait to try one of those our in person.
1. Nels Cline sucks. I read it online, so it must be true. 2. I do have a CS-3 and have enjoyed mine for many years. Along with my Guyatone, Tonepress, Joe Meek, Keeley, Dano, ... well, you get the idea. 3. "Irony". You could look it up.
This might help with your question - it's a site that has reviews for pretty much every compressor out there. Granted, the guy is utilizing them for bass, but he's generally evaluating them on EQ, noise level, overall build quality, etc. and does a nice job. Super helpful and instructive:
Clickty chinkens ......just got home with a Pigtronix Philosophers Rock compressor, sounds great! Huge range, really transparent to pretty much infinite the sustain like my Philosophers Tone, it doesn't have the blend control, but the volume and sustain controls are very interactive, I found the 2 sweet sounds that I seek in a compressor in 10 minutes with the Philosophers Rock. Although it lacks control over the grit feature, no knob just a toggle, I like the voicing of the germanium in the Philosophers Rock much more than the Philosophers Tone.
cool mang, as said above cs-2 and tone press are the comps' i currently own, plugged into many others over the years just seems unnecessary for my right hand techniques... love the use of it for instance on sultans of swing and another brick # 2, and so on, great for a lil sustain here nor there, though they always seem to make me feel as if me dynamic range is limited thus is a comp though so tell more about Pigtronix Philosophers Rock, love there product / all sound herad to date / the graphics are more artistic than any mayrold imo, and built / priced to last & then some...is this through the fuch???
I can't play with much volume these days, city apartment living....it is a feel thing with compressors for me, the P-Rock is really easy to dial in for that " not easy to ascertain kind of sustain pillow that the notes lounge in" kinda steez.... You don't notice what it does for the tone until you switch it off after playing with it on for a while . The grit toggle is pretty aggressive ...germanium , it has a certain chirp to the note attack that stacks with the high gain side of my TRex yellow drive really well, very Fuzz like. Killer pedal!
Oh and I am running a stereo rig with my Orange OR15 and an Orange 1x12 cab and a 1974 Magnavox era Ampeg G100 combo solid state designed by the guys that went on to do the LAB Series amps for Gibson, this amp is beat to s hit but sound really great to me, sounds like Get Yer Ya Yas out in a 20 watt reasonable volume/weight package. It feels like a tube amp when you play, very dynamic. This baby is a keeper!
I had a lot of fun with a dyna comp, that is, if your after that chicken pickin sound... Not much of a country fan here... The compressor I had for the longest amount of time was the dod milkbox compressor.. That thing was really good!! Look them up, and you can have one cheap... I used it to give my sound some life, just a very subtle setting... Sounded best to me after distortion... Some other ones I would like to try are the cmatmods comp, barber tone press, and the wampler ego compressor..
Love it. Tried others and it does the job without screwing with the tone.
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