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Controls
The four controls on the Compressor/Limiter are:
THRES, or Threshold, sets the level at which the compression starts to take effect. The higher (clockwise) you
set this control, the harder you must play before compression starts to occur. The lower (counterclockwise) you
set this control, the sooner compression starts to occur, and can be audible even when playing softly.
COMP or Compression sets the ratio of compression that will be applied to your signal. The ratio, in conjun-
ction with the THRES setting will determine how hard, or how gently, the compressor will affect your signal.
Turning the COMP knob clockwise increases the ratio, giving you more compression, while turning it counter-
clockwise lowers the ratio, giving you a softer effect. There are no right or wrong settings for the ratio, or any
other control on a compressor for that matter. It is entirely an artistic choice, based upon what you want to hear.
RESP or Response determines the way the compressor responds to your playing. In full clockwise position the
unit acts as a peak-limiter, providing a simple brick wallättenuation (reduction of the signal) when the signal
reaches the point you have set on the THRES knob. The more you turn the RESP knob counter clockwise, the
more the unit acts as a modern compressor with signal-dependant attack and release times. In simple terms,
If you like a more effected sound, where you can clearly hear the compressor actively shaping your sound, you
want more of a compressor response (RESP more counter-clockwise), if you want a limiting function you want
the RESP knob more clockwise.
Try setting the pedal like this:
This is set for a very active, signal-dependant compressor function. As you play, turn the THRES knob counter-
clockwise, and you will see how quickly the compression starts to occur, and how strongly it interacts with your
playing.
Now, try setting the pedal like this:
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Carl Martin Andy Timmons Compressor/Limiter User Manual
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