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.
That's it for now.