Carl Martin Andy Timmons Compressor/Limiter Bedienungsanleitung Seite 5

This is more of a fixed-point limiting function. As you play, turn the THRES knob counter clockwise, (you will
have to turn it further than with the RESP knob set as in figure 3) and you will hear the unit start to effect the
signal. Spend some time playing with the THRES and RESP knobs in various places, leaving the other knobs
alone for now, and you will see the different kinds of responsiveness available to you. As you become familiar
with the pedal, you will find just the settings you are looking for. Of course, the COMP settings will make a
difference in all cases, but to keep things simple, it's good to start with the COMP set as in figures 3 & 4.
GAIN is also called make-up gain", and that is because the more you compress the levels, the softer the sig-
nal becomes and this control allows you to compensate for this. By the way, Gain"is simply a more precise,
scientific-term for "volumeör levelso there is nothing mysterious about this control. Switch the pedal in and out
with the footswitch and adjust this knob as needed. You can also use it to get a bit of boost for a solo. If you use
single-coil pickups, you will notice that extreme compression settings will accentuate the hum and noise from
these pickups. That is simply the nature of compression and single coil pickups, not a function of the pedal,
and all compressors exhibit this trait. If you have humbuckers, or you stand where there isn't much hum pickup,
you will quickly notice the extreme quietness of this pedal. It really does perform very much like a high-end
studio unit.
The Busy Lightsimply tells you how much compression is being applied to your signal. The brighter it gets, the
more compression.
Ok, to start out, let's try a good, basic fatteningsort of compression. This is what engineers often do to your
signal in the studio, so you will generally find this a familiar and musically useful sound. To begin with, use
these settings:
Adjust the THRES control counterclockwise until you start to hear the compression effect and the Busy light
starts lighting up. Adjust the gain as needed.
Now, leaving the THRES control where you can hear the effect, start adjusting the COMP control:
You will notice that the compression becomes harder and more abrupt, giving you more of a squashedsound.
Now, leaving the COMP control about here, and the RESP control here:
5 Carl Martin Andy Timmons Compressor/Limiter User Manual