MXR dyna comp or Boss CS-3 compression/sustainer

kevin118

New member
hey guys,i am not sure whether to get a mxr dyna comp or boss cs 3.i usually play lots of metallica,buckethead children of bodom and mostly metal stuff and on ocassions blues rock .its coming out of a fender highway one showmaster and my distortion pedal is a boss MT-2.so which one should i get for the best tone ? THANKS.... :D:D
 
HAHAH! :p

Metal tone = Compressor :twisted::mrgreen:

but to answer your query, I didn't like the CS-3... I don't even know why I bought it since my playing that time was mostly grunge. Though it works best with chicken picking... red hot style funky rhythm. Some guitarists even use compressors to boost their lead. This is the part though that I cannot understand... compressing your lead tone? I would rather use an Equalizer or an OD before my main dirt to boost my lead.
 
Hey it's understandable. True story. My very first pedal was a Boss CS-3 - i thought "ooh sustainer!" and immediately thought that was that distorted tone which i kept hearing on records. I bought it without getting the chance to try it, and you can imagine my confusion and then disappointment when i plugged it in and realised it did bugger all. Well, inexperience might have been an excuse for stupidity in them pre intar web days.

To me the stock CS-3 is a terrible compressor BTW - unless you like over squashed tones - used in conjunction with any drive all you're likely to get is background noise and a thin artificial sounding signal. the pedal is best used as a paperweight.

Maybe you should elaborate on why you want a compressor in the first place and what you hope to achieve with it - might help you make a more informed choice than just assuming what you think a compressor would do for your tone.
 
actually my main purpose is to squash my distortion cause i find it a bit to noisy at times when i strum my top 3 strings and unclear.so i was hoping with a compressor it would help reduce the noise and probably make my sound better.
 
actually my main purpose is to squash my distortion cause i find it a bit to noisy at times when i strum my top 3 strings and unclear.so i was hoping with a compressor it would help reduce the noise and probably make my sound better.

Uhhh.. No? Noise cannot be eliminated from using a compressor..
A compressor just squashes your EQ.. Cutting the the treble after a certain frequency and bass before a certain frequency, thereby limiting your EQ to within a set of frequencies..
It kinda squashes your sound.. Well if you want a compressor, one of the best I've tried is the Barber Tone Press, a parallel compressor.. It is good as a compressor, but not for the job you want..

For that, you have a few choices to reduce noise :
1) Noise Reduction pedal
2) Different pedal/different amp/different guitar (for those suited for high gain, eg. a guitar with active EMGs, an amp with bigger speakers and massive distortion, a pedal that gives you that BIG sound)
3) Ground your amp
4) Use quality cables
5) Loose connections? (Input jack etc) Thus you can get it replaced!
 
a compressor might not be the rite one in this situation.

compressor mainly to balance dynamics, use too much of it, it will add even more hiss and really kill off the dynamic of your playing. You signal will sound too even, without any peak nor drop, to symbolise mood changes in the geetar sound that accompany the music.

metalzone, by itself, its lacking in mids. Worst still if you are using a small amp. No matter how you tweak, the bee buzzing, fuzzy sound is hard to get rid off.

To make it clearer, you can try an eq pedal, to boost the mids. It will make it beefier and thicker sounding and clearer sounding. Another important thing on getting a clearer sound, use less gain, much lesser, choose the right notes as well. Some notes, when played clean, sounds ok, but when you let it go thru gain pedal, the clashing of the notes pitch will really sounds ugly and often make it messy sounding

lastly, to cut down on noise/hiss, look for noise supressor instead. Its the quickest way to help. bear in mind that noise supressor doesnt get rid of the noise in the setup. What it does, is just "masking" it temporary. Once you off the pedal, all your noise will be present.

To really cut down on noise, its a combination of grounding/shielding, cables, pedal settings etc. The noise supressor will do the job in the fastest way, but not solving the inherent noise/hiss in the setup.
 
Yes it is.. When removing noise, it is usually not about adding more pedals into the signal chain, but removing them instead.. I don't think I should need a Noise Reduction pedal ever.. If I need higher gain, I guess my guitars/amps/pedals just ain't man enough for it! :mrgreen:
 
heh, higher gain doesnt need more gain, but the volume on the amp and speaker to pump more air..

for the highest gain, try those mosquito ring tone. While its almost inaudible to some. The gain level is really insane. Its constantly clipping all the way, just find those ringtone and use some audio software to see the waveform. It make whatever chuggah chuggah geetar distortion look like clean tone instead
icon10.gif
 
This is a post from embryo about compressors

Ok Guys I'll start by addressing the Compressor 1st ya.

To Compress or Not to Compress? Here's the what, when, where, why and how;

It's occurred to me that with frequent enquiries about it I ought to address the subject about the elusive device called the Compressor, what it is and how to use it to enhance your sound. Usesage can range anywhere from subtle to extreme and most may not realise that except for classical music performance and recordings Compressors are actually the most used audio device next to the EQ in just about any live performance or recorded music.

I personally use a modded Boss CS3 for both my acoustic and electric work in gigs and in the studio for session work. For variation of dynamic and tonal flavour I also use the Keeley Compressor which really is a Dynacomp with better quality components. And for fine studio work I also use other rack mount compressors for various audio production applications.

In Full tube amps compression is what happens when the amp is set at a level approaching it's threshold somwhere towards the beginnings of slight breakup in the sound. This compession action is what makes the sound seem to sound fatter and sustain longer than when the amp isrunning totally clean. The charm of the tube amp is that you get different degrees of compression going on at the preamp and power amp stage and each stage has it's own influence on the overall sound.

Of course if one were to go full tilt on the pre and power section of the tube amp there will be little use but more noise in trying to add more compession at the front stage as the signal past the oversaturated pre and power stage of the tube amp is way passed compression already and has reached the ceiling of it's specified headroom.

The careful use of the compressor sounds best when coupled with low front end drive but more power section drive of a tube amp. Also dialling just enough sustain on the pedal is crucial to attaining the right amount of desired compression against adding unecessary noise to the chain.

Personally the most famous compressor pedal for the guitar is the Dynacomp and the Boss CS3. The Dynacomp is a sound of it's own and in the hands of players with great articulation in their picking like Robben Ford/Larry Carlton styled players they are able to set the Dynacomp to help them control the amp's drive and tone simply with their picking dynamics. This helps them to achieve that horn like dynamic control. The most common mods requested for the dynacomp is usually to try and revive much of the missing highs and lows when the pedal is engaged.

The CS3 is not as dark as the Dynacomp. Best exampled by the sound of John Fruciante, Andy Summers and many of the textural and rhthmic work of guitarists especially from the 80's. Unlike the Dynacomp the CS3 is more versatile with higher output pickups and has the ability to allow more of the initial picking dynamics to come through. The CS3 also has less noise and can also be used to drive the tube amp into overdrive with some carful tweaking. The common mods for the CS3 also revive the the lows and highs and with the treble bypass mod can allow more of the guitar's natural trebles to pass through the pedal without relying on the noise adding eq knob.
 
I am still learning abt comps/limiters and here is what i have learnt so far....
1) if you are asking most probably you don't need one.
2) the are NOT boost/drive pedals.
3) the are NOT sustainers eventho it may feel like one


Compressor Reviews to help you know what is available and wht it does !!

some mods for cs3 for the die hard fanatics...
Modding a Boss CS-3

Both CS3 and dyna/ross comp.... i dislike the most !!
Yes popular, coz people back then didn't have much of a choice when it came to compressors !
All the good ones were on racks in studio's and are slowly makin way into pedalboards.

Opto comps/limiters gives true compression whitout added noise or excessive coloration. A recent popular Demeter Compulator, is opto based.... but it's more of a limiter looking at the circuit?!!?

Final say ....try whatever you can get your hands on and see what inspires you ...
 
Opto compressors still have colouration. They are inherently non-linear so they change the shape of the sound wave. I think the difference is that the non-linearities in an Opto are pleasant sounding. All the famous Opto compressors have a definite sound to them.

A hybrid design would be interesting. Have the envelope follower done in the digital domain. The input of the pedal is fed to a ADC then to a DSP. The DSP would extract the envelope from signal and generate a control voltage via a DAC. The control voltage would feed a quality VCA chip like one of those nice analog devices ssm ones.

That way you could control the Attack and Release and the compressor curve in the digital domain. Then the actual signal processing would occur in analog and maintain the mojo.

You could use the same circuit to implement a tremolo and a slow gear just by changing the dsp firmware. The DSP wouldn't need to be high end because it doesn't need to run at audio rates. Maybe something like a dsPic.
 
excessive coloration

dei ...read poperly ha..:D

All the famous Opto compressors have a definite sound to them.
And ...what is that "sound" ?

Have the envelope follower done in the digital domain.

done'ded. :cool: not so great.
numbers got no feel ....:(

You could use the same circuit to implement a tremolo and a slow gear just by changing the dsp firmware.

Yes to slow gear but a tremolo needs LFO !!
 
Last edited:
Can do LFO in dsp pretty easy
Yes but easier, cheaper the old way as DSP need to convert to '0001100101' .... math sucks.:D

DSP will be cool for a multi band comp, software types, etc, where you can mimic diff comp/limiter type to suit.

For guitar/bass, best to keep the circuit simple, practical and leaving it's quirks for inspiration. An opto tend to be sluggish thus complementing that "feel" part of music making. Having a 'delay' or 'release' option is good for final production but just gets in the way for a musician as it restricts pick dynamics imo.

Some people love extreme compression as an effect and it's cool too.
(eg. Red Hot's - Under the Bridge intro) The CS3 can be used this way and place after dirt pedal ....maybe get 2 and go 'under the bed':mrgreen:

LA2A was designed for broadcasting and found its way into studio's, now it's a sworn "mojo" machine. Simple design, some tubes + opto.... Mainly used for vocals and it's a limiter actually.:cool:
 
Back
Top