CoolGuitarGear
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I have used compressors in the past, particularly for tight funk-like rhythm, but never gelled with any. Once I got to a tightness I liked, the tone began to sound and feel sterile and uninspiring. Well, Carl Martin changed my mind with its new Dual Compressor Limiter. There are three elements that made me a believer with Carl Martin’s latest pedal release: 1) Having dual channels is significant, as you can set different compression and volume levels for rhythm and lead, or whatever combination desired and required. 2) The overall response and behavior make it very easy to dial in, and it sounds far more natural to my ears than with some compressors I have tried. 3) The Dry/Wet blend is exceptional, because even if you get that correct amount of tightness, you can add dynamics back in without losing feel and tone. The demo below is for 6-string guitar, with samples that are clean, crunchy, and hi-gain. The second demo is a quick run-through of various settings for bass guitar.
It is interesting how much musicians do connect a compressor with funk or country music… something ‘clean.’ But what it does for dirt is undeniable, from tight intense rhythm to singing leads, both in what it does for the tone, and also the sustain. Lars, over at Carl Martin, shared those sentiments with me:
“One thing I find interesting with compressors is that many guitar players mainly associate them with clean, funky rhythm parts (like you [and I] did) - which is also a very valid and classic use.
“But ‘tone masters,’ such as Andy Timmons, for example, often seemed to approach compression in a much broader way. It becomes less of a ‘funk effect’ and more of a dynamics tool: something that can shape sustain, attack, feel and level across both rhythm and lead sounds.
“That is also very much how we see the dual-channel concept. One channel can be used for a more subtle rhythm setting, while the other can be set up for a more sustained lead sound, with the option of adding a controlled level lift if needed.
“So, (adding energy to one’s tone is actually very relevant), because it touches on one of the intended strengths of the format: the pedal can be used not only to control dynamics, but also to help the guitar sit differently in the mix depending on the part.
“That is also where the dual-channel layout becomes practical: instead of tweaking several parameters on stage, you can set up two useful sounds in advance and simply switch between them live.”
Yes, each side of this pedal has its own Compression and Level Control, which is necessary since more compression often requires a boost in Level. Moreover, I found myself slightly boosting the Lead side of things, ideal for soloing without having to put much thought into it. Both sides share Threshold (sensitivity) and Dry. At times I do adjust one or both when flipping channels, as I did in the hi-gain outro in the demo video. However, I’m uncertain how much tweaking would be required in live play, as opposed to sharing the same settings, whereas I did some adjustments of the Threshold and Dry for the sake of demonstrating some variation in settings and sound. Generally speaking, you shouldn’t have to alter those two elements between rhythm and lead.
Both Threshold and Compression have a very usable range; the number of dial combinations, particularly if adding some or a lot of Dry, are quite extensive, providing a wide variety of tonal flavors and feel. Likewise, the overall range of the ‘Dry’ is rather broad, in that you can mix in a few details, or maximize the natural attack and articulation while still adding sustain and a more consistent note response.
I also will add that when playing clean, the Dual Compressor Limiter really accentuates the notes, making them bold and lively. But when you start adding dirt, be prepared for added energy, to the point that this pedal works very well as both an overdrive and boost (you will hear the amp responses in my demo). A dirty signal suddenly becomes more aggressive and in-your-face, which I like, but if it’s too much for some people, then simply turn down the gain on your amp to even it out. That is about the only negative about this pedal, which I don’t consider a negative, as the Dual Compressor Limiter serves more than one purpose, and does so rather well.
Some other details include a footswitch for on/off (bypass), a separate footswitch for channel select, and a Remote out, to control switching between the two presets. Threshold range is 60 dB, Compression range is 1:1 to 30:1, and requires 200 mA (130 mA power consumption) to operate. Yes, this is staying on my board!
I have used compressors in the past, particularly for tight funk-like rhythm, but never gelled with any. Once I got to a tightness I liked, the tone began to sound and feel sterile and uninspiring. Well, Carl Martin changed my mind with its new Dual Compressor Limiter. There are three elements that made me a believer with Carl Martin’s latest pedal release: 1) Having dual channels is significant, as you can set different compression and volume levels for rhythm and lead, or whatever combination desired and required. 2) The overall response and behavior make it very easy to dial in, and it sounds far more natural to my ears than with some compressors I have tried. 3) The Dry/Wet blend is exceptional, because even if you get that correct amount of tightness, you can add dynamics back in without losing feel and tone. The demo below is for 6-string guitar, with samples that are clean, crunchy, and hi-gain. The second demo is a quick run-through of various settings for bass guitar.
It is interesting how much musicians do connect a compressor with funk or country music… something ‘clean.’ But what it does for dirt is undeniable, from tight intense rhythm to singing leads, both in what it does for the tone, and also the sustain. Lars, over at Carl Martin, shared those sentiments with me:
“One thing I find interesting with compressors is that many guitar players mainly associate them with clean, funky rhythm parts (like you [and I] did) - which is also a very valid and classic use.
“But ‘tone masters,’ such as Andy Timmons, for example, often seemed to approach compression in a much broader way. It becomes less of a ‘funk effect’ and more of a dynamics tool: something that can shape sustain, attack, feel and level across both rhythm and lead sounds.
“That is also very much how we see the dual-channel concept. One channel can be used for a more subtle rhythm setting, while the other can be set up for a more sustained lead sound, with the option of adding a controlled level lift if needed.
“So, (adding energy to one’s tone is actually very relevant), because it touches on one of the intended strengths of the format: the pedal can be used not only to control dynamics, but also to help the guitar sit differently in the mix depending on the part.
“That is also where the dual-channel layout becomes practical: instead of tweaking several parameters on stage, you can set up two useful sounds in advance and simply switch between them live.”
Yes, each side of this pedal has its own Compression and Level Control, which is necessary since more compression often requires a boost in Level. Moreover, I found myself slightly boosting the Lead side of things, ideal for soloing without having to put much thought into it. Both sides share Threshold (sensitivity) and Dry. At times I do adjust one or both when flipping channels, as I did in the hi-gain outro in the demo video. However, I’m uncertain how much tweaking would be required in live play, as opposed to sharing the same settings, whereas I did some adjustments of the Threshold and Dry for the sake of demonstrating some variation in settings and sound. Generally speaking, you shouldn’t have to alter those two elements between rhythm and lead.
Both Threshold and Compression have a very usable range; the number of dial combinations, particularly if adding some or a lot of Dry, are quite extensive, providing a wide variety of tonal flavors and feel. Likewise, the overall range of the ‘Dry’ is rather broad, in that you can mix in a few details, or maximize the natural attack and articulation while still adding sustain and a more consistent note response.
I also will add that when playing clean, the Dual Compressor Limiter really accentuates the notes, making them bold and lively. But when you start adding dirt, be prepared for added energy, to the point that this pedal works very well as both an overdrive and boost (you will hear the amp responses in my demo). A dirty signal suddenly becomes more aggressive and in-your-face, which I like, but if it’s too much for some people, then simply turn down the gain on your amp to even it out. That is about the only negative about this pedal, which I don’t consider a negative, as the Dual Compressor Limiter serves more than one purpose, and does so rather well.
Some other details include a footswitch for on/off (bypass), a separate footswitch for channel select, and a Remote out, to control switching between the two presets. Threshold range is 60 dB, Compression range is 1:1 to 30:1, and requires 200 mA (130 mA power consumption) to operate. Yes, this is staying on my board!
