# NPD - Fender The Bends Compressor!



## Sunny1433 (Nov 23, 2018)

So I was looking to get into compressors for a while but I didn't want anything to overtly noticeable and definitely something with a blend knob. I tried the Keeley 4 knob, the SP compressor and a bunch of others. TheCali76compact deluxe seemed to be the only one that would work but I definitely couldn't afford one. 

Yesterday I tried out Fender's The Bends Compressor and bought it after nearly an hour of properly testing it out in a store. It did the whole "don't notice that it's on" thing super well for me! It has a blend knob and it's Recovery knob is pretty sensitive too. It works great with single coils which is mostly why I bought it. The jewel light changes colour when the signal is compressed just like the Cali76. I'm fact, I hear that this pedal is inspired by that pedal. But it's one I could buy!

The build quality also feels substantial and sturdy and honestly the pedal looks and feels premium. It's a bit heavy (just under a pound) but it's not really a problem. Oh and the battery compartment with the magnetic cover is so convenient and should be on every pedal! 

Here's a link - https://shop.fender.com/en/intl/acc...products/the-bends-compressor/0234531000.html


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## mhammer (Nov 30, 2007)

The Bends is probably the only stompbox compressor that calls the control "Recovery" (which is what it is), rather than "Attack". Most compressors will instantly reduce the gain in response to peaks in the input signal. What often gives them their character is how they bring the gain back up afterwards; that is, how the gain "recovers". When gain-recovery time is slow, and you're playing quickly, you tend to miss the peaks on the attack of subsequent notes. That, and the fact that "Recovery" is a longer word for legending purposes and not nearly as sexy-sounding as "Attack" (compressors ARE a hard sell, after all), probably led to so many manufacturers calling it Attack. When I went to NAMM, I had to convey my respect for that to design-team head Stan Cotey. He was very appreciative that someone noticed.

The recent Fender pedal line may not have the exact sounds that everyone wants, but their overall design is smart, smart, smart, like the battery compartment and illuminated controls.


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## Dorian2 (Jun 9, 2015)

Glad you found one. I use the SP which works for me given the price, quality, and features. Wish there was more transparency in sound though. Might have to check a fender out at some point.

Thanks for the rundown.


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## Sunny1433 (Nov 23, 2018)

A few weeks later and I'm really beginning to understand this pedal better and live it even more. It's staying as my always on pedal along with the KTR and my cleans are so much better. I also really like the layout of the controls and the choice of the parameters available. 

Such a great find!!


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## Granny Gremlin (Jun 3, 2016)

mhammer said:


> The Bends is probably the only stompbox compressor that calls the control "Recovery" (which is what it is), rather than "Attack". Most compressors will instantly reduce the gain in response to peaks in the input signal. What often gives them their character is how they bring the gain back up afterwards; that is, how the gain "recovers". When gain-recovery time is slow, and you're playing quickly, you tend to miss the peaks on the attack of subsequent notes. That, and the fact that "Recovery" is a longer word for legending purposes and not nearly as sexy-sounding as "Attack" (compressors ARE a hard sell, after all), probably led to so many manufacturers calling it Attack. When I went to NAMM, I had to convey my respect for that to design-team head Stan Cotey. He was very appreciative that someone noticed.
> 
> The recent Fender pedal line may not have the exact sounds that everyone wants, but their overall design is smart, smart, smart, like the battery compartment and illuminated controls.


Release not recovery (even though that is what Fender calls it; not incorrect, but also not the accepted technical term; see any fully featured compressor whether in pedal form or studio rack). Other pedals have also made this correction to their variation on the classic 2-3 knob comp pedal. I was looking at one just the other day, forget what it was actually (something new and white is all I remember), and remarked to myself that they actually called it 'release' - and I point that out not to dispute that the vast magority call it Attack (very confusing!) so much as to point out that there may actually be a trend of that changing (which I welcome - I have ranted about this misinformative labeling before).

edit: AHA! it was the Ampeg:










Personally, I find that an input level vs output level is MUCH more useful on a compressor pedal (assuming the usual 2-3 knob control set that lacks Ratio, Threshold and actual Attack controls) because it allows you at least some control over the aggressiveness of the compression (surrogate Threshold control). Some Studio comps worked on the same principle - ratio was technically fixed, but they gave you an input gain stage (or at least attenuator) instead. This allows more versatility as it can now be used to seriously squish your signal, or just lightly smack down the peaks to smooth out your overall balance, vs being more of a sustain device. I find even that not enough tweakability for me; which is why I sold the Ross style one I built for myself (with the internal input trimmer burst out to a full size pot on the outside). The new MXR bass comp (would be fine for guitar too - it's a marketting choice) looks interesting to me in that regard. I don't think I have seen this feature set in a pedal this size before. Too bad about the side jacks though:


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## mhammer (Nov 30, 2007)

Thanks for the heads-up about the Ampeg pedal. The change in control-naming reflects not only a change in attitude by more manufacturers, but an increased confidence by manufacturers in consumers' knowledge and understanding of compressors....which is a good thing.

The input/output thing is likely a function of the particulars of the design. In many simpler older-generation compressor pedals, the "compression" control might well be more properly labelled "how much of that are you gonna use?", insomuch as the input signal is rectified, as is, and the compression control limits the voltage or current derived from that rectified input. Complementary input/output knobs would be more appropriately labelled as such if the rectified sidechain fed its control signal to whatever the control element was (optoisolator, FET, OTA, other), and the "input" knob basically adjusted how hard one was going to "push" the sidechain.

I guess it's tough to come up with legending that balances out implicitly explaining how the device/circuit works, letting you know how to achieve what you want as user, and adding marketing pizzazz to the product to attract buyers..


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## cboutilier (Jan 12, 2016)

I like my Boss CS3. It doesn't matter what the knobs are labeled or set at. No matter what you do, it's just country in a box.


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## vadsy (Dec 2, 2010)

cboutilier said:


> I like my Boss CS3. It doesn't matter what the knobs are labeled or set at. No matter what you do, it sounds terrible.


fixed it for you


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## cboutilier (Jan 12, 2016)

vadsy said:


> fixed it for you


I'd argue with you for the fun of it, but Vince Gill's clean tone with a CS3 speaks for itself.


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## vadsy (Dec 2, 2010)

cboutilier said:


> I'd argue with you for the fun of it, but Vince Gill's clean tone with a CS3 speaks for itself.


I knew, f-ing knew, you were gonna bring this clip up as argument for the CS#3, , guess what it aint the pedal making him sound like that


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## mhammer (Nov 30, 2007)

Actually, it is. One of the things that compressors do, when used properly, is even out the levels in guitars and picking styles that have a more percussive sound (which Tele bridge pickups do) and where the player may not be in a position to strike the strings equally in a manner that yields identical volume. As well, compressors provide a means to disconnect loudness from pick attack. That permits the player to get different tones out of the strings by the way they pick, without creating audible/perceptible differences in loudness.

Obviously Gill doesn't need a compressor of any type to sound as_ skilled_ as he does. And certainly his clean tone, on a single note basis, is the product of a Tele and Fender amp. But if I listen to how he _sounds overall_, there's no way he could sound like that without a compressor. Take a listen to the delicately picked overlapping notes around the 3:45-4:00 mark and tell me those would all sound about the same loudness _without_ a compressor. If he was picking slowly, with plenty of space between notes that allowed him to adjust his picking strength, maybe. But what he does there - especially if you watch his picking hand - requires something to assist him in producing an even volume across all those overlapping notes.


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## vadsy (Dec 2, 2010)

mhammer said:


> Actually, it is.


uhm, no it isn;t

he put it out there to throw people off the trail. sometimes I think you pretend to know about pedals but nothing about sound


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## Granny Gremlin (Jun 3, 2016)

I’m gonna be skeptical about that too. Ive had a cs3 and tried to use it for taming the peaks. Thats not what it does ( well). But that could also be a function of how it reacts to humbuckers vs single coils. Maybe also guitar vs bass. 

Although simple comp pedals can be tweaked for other tasks they are not very good at them (unless you get a lucky pedal pickup combo that happens to work maybe), what they are best at , and in fact designed for, is creating sustain ( the name says it all: Compressor Sustainer - 3)


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## mhammer (Nov 30, 2007)

I have no idea exactly what compressor he's using, and will openly admit that Youtube videos and their sound quality, not to mention broadcast audio, hides a multitude of sins, but it's pretty clear to me he IS using one. Not for "sustain", but to level the volume. Indeed, Telecasters and compressors are a natural fit; every bit as natural as a Les Paul and a Marshall.

And just what exactly does "throwing people off the trail" mean?

Addendum: I know why_ I'm_ sticking to the notion that he's using compression of some sort, and I know what sonic characteristics lead me to that conclusion. That said, I'm open to persuasion by evidence to the contrary. So what sorts of things do you hear that lead you to conclude that no compression is being used?


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## vadsy (Dec 2, 2010)

I hear one of Amy Grants powerful queefs, you have to listen at 2:45 and again at 7:92, that Vince recorded and overproduced with studio plugins then sold to the masses, no surprise it was a huge hit.

supplemental log: of course he uses a compressor, ,., but he only does it to compensate for his own insecurities, he doesn't really need it on, just needs to be on the pedalboard


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## vadsy (Dec 2, 2010)

I should clarify and get this thread back on track, the Boss is crappy compressor but the Bends is most certainly an improvement. Congrats on the NPD


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## Sunny1433 (Nov 23, 2018)

vadsy said:


> I should clarify and get this thread back on track, the Boss is crappy compressor but the Bends is most certainly is an improvement. Congrats on the NPD


I really appreciate that, thank you


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## cboutilier (Jan 12, 2016)

mhammer said:


> I have no idea exactly what compressor he's using, and will openly admit that Youtube videos and their sound quality, not to mention broadcast audio, hides a multitude of sins, but it's pretty clear to me he IS using one. Not for "sustain", but to level the volume. Indeed, Telecasters and compressors are a natural fit; every bit as natural as a Les Paul and a Marshall.
> 
> And just what exactly does "throwing people off the trail" mean?
> 
> Addendum: I know why_ I'm_ sticking to the notion that he's using compression of some sort, and I know what sonic characteristics lead me to that conclusion. That said, I'm open to persuasion by evidence to the contrary. So what sorts of things do you hear that lead you to conclude that no compression is being used?


Vince used a MIJ Boss CS3 for most of his career. Later ones were Keeley modded IIRC. Also Line6 or Boss DD3 delays. Occasional use of a Blues Driver. Mostly into a pair of BF Deluxe Reverbs.


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## RBlakeney (Mar 12, 2017)

The only thing we can say definitively,is that using the boss compressor for years has takin a toll on Vince gill


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## High/Deaf (Aug 19, 2009)

I love Vince's playing - since back when he was Chet's sideman - but I sure wish, in that clip, he woulda given a little piece of that to the pedal steel player. I love a well-played pedal steel in a hot, up-tempo country tune. 

Other than that, I"m just gonna stay tuned ........


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## Dorian2 (Jun 9, 2015)

So amongst all the tech talk and Troll worthy posts...thanks for that @vadsy .....here's my impression of using COmpression (Xotic SD Comp). I play harder rock and a shit load of my LP playing is based on lead work. That's just the way I personally grew up using the guitar. I use it as an always on, but both the compression and blend levels are set extremely low. This way, it does pretty much like what @mhammer , I believe, is suggesting. Evens out the sound so the playing is just that much cleaner and even sounding. But it does add some sustain at my settings, and depending on what is being played and what I'm going after, increasing blend adds more sustain and comp. I tried that CS-3 and it just didn't sound good with my humbucker/rock setup. For Country maybe it works.

I use the same setup with my Telecaster in "single coil mode" . I have a split lil 59T in bridge with the original Fender pup in neck, and the middle position is *out of phase* because of the difference in pup wind orientation (I think...correct me if I'm wrong). I never used the middle before the compressor because it was just waaay too thin and weak sounding with almost 1/2 the volume of the singles alone. Never mind humbucker and single. When I added the compressor and used the middle position the out of phase sound was much louder and useable. I can only assume that that was 100% compressor doing its job. I had no idea it would raise the overall level of the middle position that way and I'm very pleasantly surprised by it.

Sorry for the long story but I'm also finding out how very "useable" a compressor can be in different situations. Probably much like the OP has found with the Fender Bends. It isn't a one trick pony, that's for sure.

/PersonalCompressionStory


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## mhammer (Nov 30, 2007)

I'm curious about what folks may feel the "weakness" of the CS-3 to be. Looking at the schematic, I don't yet see anything particularly distinctive, other than the use of a transconductance amplifier (uPC1252) that I'm not familiar with, and only have a Japanese datasheet for. The CS-2 used a BA662 transconductance amp (OTA), in what was otherwise basically a Dynacomp/Ross circuit. The 662, in turn, is a proprietary OTA, that Roland used in its synths, with better specs than the CA3080 used in the Dynacomp and Ross.

So do folks think the CS-2 is okay and the CS-3 not?


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## vadsy (Dec 2, 2010)

mhammer said:


> I'm curious about what folks may feel the "weakness" of the CS-3 to be. Looking at the schematic, I don't yet see anything particularly distinctive, other than the use of a transconductance amplifier (uPC1252) that I'm not familiar with, and only have a Japanese datasheet for. The CS-2 used a BA662 transconductance amp (OTA), in what was otherwise basically a Dynacomp/Ross circuit. The 662, in turn, is a proprietary OTA, that Roland used in its synths, with better specs than the CA3080 used in the Dynacomp and Ross.
> 
> So do folks think the CS-2 is okay and the CS-3 not?


the Boss comp is a one trick pony, it does cuntry chicken pickin well but thats it. Stop looking at the schematics, listen. The nerd talk makes it look like you're trying way hard to either look wicked smrt or you've completely missed the point of the music.


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## mhammer (Nov 30, 2007)

I'm simply trying to understand the basis of your bias. These are not "magic" boxes. They have designs and components intended to achieve a certain outcome, or a range of possible outcomes. If you understand them, then you are not subjected to the whims of designers that didn't think about _your _needs.

Looking at the design of the CS-3, the only thing I can see in there that might provide something I don't like is the tone control, which appears to be borrowed from the TS-9/SD-1, and is something I never really liked, even on those pedals. Other than that, it doesn't look like it would do anything different than what any of the other Dynacomp-derivatives would do. Interestingly enough, Brian Wampler has a list of mods to the CS-3, and many of them are changes to that Tone control


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## Distortion (Sep 16, 2015)

vadsy said:


> I knew, f-ing knew, you were gonna bring this clip up as argument for the CS#3, , guess what it aint the pedal making him sound like that


Must be the Rivera amps he is using in that clip?


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## vadsy (Dec 2, 2010)

mhammer said:


> I'm simply trying to understand the basis of your bias. These are not "magic" boxes. They have designs and components intended to achieve a certain outcome, or a range of possible outcomes. If you understand them, then you are not subjected to the whims of designers that didn't think about _your _needs.
> 
> Looking at the design of the CS-3, the only thing I can see in there that might provide something I don't like is the tone control, which appears to be borrowed from the TS-9/SD-1, and is something I never really liked, even on those pedals. Other than that, it doesn't look like it would do anything different than what any of the other Dynacomp-derivatives would do. Interestingly enough, Brian Wampler has a list of mods to the CS-3, and many of them are changes to that Tone control


I give up


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## Boogieman (Apr 6, 2009)

mhammer said:


> So do folks think the CS-2 is okay and the CS-3 not?


I think I am in that camp.

When both the CS-2 and CS-3 were available at stores, I tried out both pedals. Sound-wise, I found the CS-2 had a wider range that I could play with. Adjusting the knobs could yield a slightly different tone, in a good way. 

The knobs on the CS-3 could be set to get that "evened out" sound and that was pretty much it. Fiddling with the knobs only made it noisier. I don't know if this is what @vadsy was referring to as being a one-trick pony, but I did find the CS-3 to be limited. Actually, when I was trying it out, I thought there was a problem with the pedal.

Years later, I picked up a beaten up CS-2 in a trade deal. I like using it with Strats or Teles, clean or with an OD pedal. None of my P-90/HB guitars sound good with it, though. I'd rather push my amps for tube compression.

This is probably not a correct technical assessment, but I consider the CS-2 (or the Dyna Comp/Ross and even the Dan Armstrong Orange Squeezer, for that matter) to be more of a tone-colouring device than as a compressor. Great for playing at home, that's for sure.


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## Dorian2 (Jun 9, 2015)

mhammer said:


> I'm simply trying to understand the basis of your bias. These are not "magic" boxes. They have designs and components intended to achieve a certain outcome, or a range of possible outcomes. If you understand them, then you are not subjected to the whims of designers that didn't think about _your _needs.
> 
> Looking at the design of the CS-3, the only thing I can see in there that might provide something I don't like is the tone control, which appears to be borrowed from the TS-9/SD-1, and is something I never really liked, even on those pedals. Other than that, it doesn't look like it would do anything different than what any of the other Dynacomp-derivatives would do. Interestingly enough, Brian Wampler has a list of mods to the CS-3, and many of them are changes to that Tone control


When I rented a CS=3 a while ago it just didn't sound good in my setup. It drastically altered the tone that I've worked on for the last 30 years. And not in a good way for myself. I wouldn't be surprised if it was a side effect of LP, Humbuckers, and that trassex....condom....ductance... amplifier you mentioned in the earlier post. SO for me, the pedal just rubbed me the wrong way and my ears didn't appreciate the huge tone difference it made in my sound. Even the Xotic SP changes my tone if I turn the blend a teeny weeny bit too high. And by that, I mean a slight nudge past the 1/4 blend point. I have a very specific sound in my head, fingers, and ears that I can't possibly explain properly using written words though. So for me, the CS3 sucked Balls. Simple as I can get.


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## mhammer (Nov 30, 2007)

Boogieman said:


> I think I am in that camp.
> 
> When both the CS-2 and CS-3 were available at stores, I tried out both pedals. Sound-wise, I found the CS-2 had a wider range that I could play with. Adjusting the knobs could yield a slightly different tone, in a good way.
> 
> ...


Yeah, the CS-2 doesn't have that Tube Screamer-style Tone control. Usually, Roland/Boss makes good choices. That Tone control on the CS-3 does not appear to be one of them. Bypassing it would probably improve the pedal.

I don't mean this as a criticism pointed at anyone here, but I'll just say that compressors are one of the more poorly-understood pedals. No great surprise there since compression/limiting was traditionally something that only the studio engineers would tinker with. Small wonder that so many folks find themselves disappointed by them. They don't just "work" the way distortion pedals or one-knob phasers do.


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## vadsy (Dec 2, 2010)

I’m not disappointed by all compressors, just a few that I’ve tried. I’ve also owned many great ones


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## mhammer (Nov 30, 2007)

There was a terrific article on rackmount compressors in _Electronic Musician_ magazine, about 15 or so years back. One of the things that really stuck out was their recommendation that this compressor was great for kick drums, that one was great for strings, another great for vocals, and so on. It wasn't exactly an itemized list of which compressor to use for each and every instrument, but it was clear that experienced users found a better fit between some sound sources and compressors than between others. They (pedals) all try to be as generic as they can, but will invariably have something about them that lends itself better to some things.


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## Boogieman (Apr 6, 2009)

mhammer said:


> I don't mean this as a criticism pointed at anyone here, but I'll just say that compressors are one of the more poorly-understood pedals. No great surprise there since compression/limiting was traditionally something that only the studio engineers would tinker with. Small wonder that so many folks find themselves disappointed by them. They don't just "work" the way distortion pedals or one-knob phasers do.


You have nailed it, as least for me: I only had my first electric for a year when I tried the Boss compressors. When I walked out of the store, I thought they were just some EQ that softens the string attack and lowers the high frequencies. In other words, meh. LOL


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## guitarman2 (Aug 25, 2006)

Sunny1433 said:


> So I was looking to get into compressors for a while but I didn't want anything to overtly noticeable and definitely something with a blend knob. I tried the Keeley 4 knob, the SP compressor and a bunch of others. TheCali76compact deluxe seemed to be the only one that would work but I definitely couldn't afford one.
> 
> Yesterday I tried out Fender's The Bends Compressor and bought it after nearly an hour of properly testing it out in a store. It did the whole "don't notice that it's on" thing super well for me! It has a blend knob and it's Recovery knob is pretty sensitive too. It works great with single coils which is mostly why I bought it. The jewel light changes colour when the signal is compressed just like the Cali76. I'm fact, I hear that this pedal is inspired by that pedal. But it's one I could buy!
> 
> ...


I also tried out the fender compressor in store and was impressed. I use the Wampler Ego compressor and as I'm one that likes a compressor subtle the belnd knob is a must for me. I have it set so you just about don't notice compression at all. Its more I can feel it rather than hear it. I almost bought the fender compressor to replace my wampler but I thought it wasn't so much that it was better but that it was just as good. That says a lot for fender with the ego being well regarded.


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## cboutilier (Jan 12, 2016)

I too feel that the CS3 is a one trick pony. I'm just lucky to like that trick. 

@mhammer the only thing I've found the tone control useful for is making my 335 sound a little more like a Telecaster when I need to.


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## Distortion (Sep 16, 2015)

cboutilier said:


> I too feel that the CS3 is a one trick pony. I'm just lucky to like that trick.
> 
> Where do you like to set the attack and sustain ?


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## High/Deaf (Aug 19, 2009)

Genre may make a big difference. When I was younger and just playing harder rock, I tried a few compressors - a Cs-2/3, an EH, the Danelectro, the basic ones that were available. I hated them all and never bought one. I wanted attack, I wanted to kick you in the guts with my power chords. Why take that away? Really couldn't see the point of them. Went decades without a compressor.

Then the type of music I played changed and suddenly compressors sounded OK - even good in some cases. Now a compressor is a must-have on all my boards. I'm still not crazy about the basic one or two knob comps, I really want to have a blend control to use it just the way I want to. But if you woulda asked me 30 years ago if I'd ever pay $200 for a comp stomp, I'd have laughed at you.


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## cboutilier (Jan 12, 2016)

Both of them between 10 and 2 o'clock. Adjust to suit what I'm playing. Often pretty close to noon on both. Gets quite noisy if the sustain goes up past 2 o'clock.


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