Carl Martin Compressor/Limiter

I saw someone below me said had a hard time getting good sounds. I mean, the fact is there is more at your disposal with this compressor, and that is definitely a good thing. They have one-knob compressors out there with a handful of the options, but the idea here is that you can vary the attack and release times of the compressor. That's something you typically won't find on a pedal. It's worthy of a rack system, and frankly it's pretty handy. It completely changes what kind of compression you are targeting.

So, if you want real simple, I guess, get something with one, two, or three knobs. This has four: threshold, ratio, response, and gain. You need the gain to make up for the compression. It's really rather easy to understand if you get the picture of what a compressor does.

This compressor could be more usable if the gain increase was automatic, to compensate for reducing the ceiling on volume when you compress, but that's a feature I see on higher end (think hundreds of dollars) compressors, so I'm not complaining. You just got to be cognizant about it - and this goes for any analog compressor pedal effect.

I use this with guitar for effect, but it's main function for me is with bass, where it is essential to bring the sounds to some mean level volume. However, for guitar, and for rhythm guitar in particular, you can get some classic guitar sounds. Think the rhythm guitar in Another Brick in the Wall. Literally, you are brick walling that rhythm guitar sound, so it's dynamics stay constant.

What distinguishes this particular compressor from any other compressor pedal I know is the 12 volts of headroom. This is a big deal. It's the difference between playing with a big sound, and playing with a small one. Carl Martin's higher end pedals have that. Sure, you need to plug into something because it doesn't operate on 9V batteries, but the win is the headroom, the sound.

The very nature of compression is that it reduces dynamics, so I don't recommend using compression liberally unless you're confident you know what you are doing. Compression quickly robs performances of nuance and personality. However, for bass recording, comp is I think unexpendable, essential. And for rhythm guitar work, it's a fine thing.

As for this being an analog compressor, I'm not going to say digital compressors suck, because sometimes they don't, but let's just say sometimes they do. The whole thing about analog is that it is naturally suited to compression. No digital artifacts.

Extremely reliable. I've had four CM pedals over the years, their higher end pedals. One of their Chorus x2 pedals arrived damaged to me from a seller on Ebay, but I shipped that to Denmark and they replaced that for basically free. The compressors I've had are just perfect, no flaws. They sound identical, nothing bad to say.

As mentioned, the manufacturer completely supported a second hand Chorus XII in the past, so I am very appreciative of their support.

I can't see anything I'd rather have in a pedal compressor. I can't even see anything I'd even like to have as much. Of course, a $2000 API compressor rack effect would be just fine, but for a pedal, this is not only the best, but damn cheap at the second hand prices I've seen them at. People want 9V pedals I guess.

I have more than one of these by the way. When I get good pedals, I get backups. For me, that's been these CM Compressor/Limiters, Analogman sunfaces, Moog phasers, Maxon AD900 delays, and Fulltone Clydes. All excellent.

It needs half an hour to get the sound out of it.

It's a ******* nice compressor. You can adjust it quiete subtile - you (almost) don't hear there's a compressor, but the sound is MUCH better.
Especially if you use it as a booster also!

Don't know yet.

Don't know.

Bad damn! Really good! Intercourse Fine!

pretty easy, but you will have to get use to the "Response" and "Threshold" knobs and the interaction between these 2 knobs and of course the "compression" knob.

here's a little explanation to help you figuring what this pedal can do:

THE KNOBS:
(took these descriptions on the CARL MARTIN website)

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 conjunction 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 counterclockwise 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 wall" attenuation (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.


GAIN is also called "make-up gain", and that is because the more you compress the levels, the softer the signal becomes and this control allows you to compensate for this. By the way, "Gain" is simply a more precise, scientific-term for "volume" or "level" so 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 Light" simply tells you how much compression is being applied to your signal. The brighter it gets, the more compression.


DIFFERENCES BETWEEN COMPRESSOR AND LIMITER:
(I tooked these infos on the net)

Compressor

A compressor is a device that reduces the dynamic range of an audio signal.

There are a variety of uses and applications for compressors, the most obvious one being to control the dynamic range of a live performance so that it will fit into the fairly narrow dynamic range of recorders, etc. Other applications include making a signal's average level higher, increasing the apparent sustain on a guitar, fattening up sounds, etc.

Limiter
A limiter is a dynamics processor very similar to a compressor. The primary difference is the ratio used in reducing gain. The idea is that a limiter establishes a maximum gain setting, and prevents signals from getting any louder than that setting.

Limiters are used for a variety of applications. A few: Maximizing signal levels while preventing distortion when using digital recorders, preventing overload in a signal chain, setting a maximum volume level to protect users of in-ear monitors, protecting speakers an

1= min. (1st dot around the knob) 9=MAX (last dot arounf the knob)

Favorite setups:

COMPRESSOR: Thres = between 6-9
Comp = between 2.5-6
Resp = between 1-4
Gain = it depends but usually around 3.5-5

LIMITER: Thres = between 6-9
Comp = between 2.5-4
Resp = between 6-9
Gain = it depends but usually around 3.5-5

the sound is amazing. sparkling clean, even, hi-fi quality, have plenty of gain. perfect for "beefing up" your sound (think Another brick in the wall solo and Shine On Crazy Diamond clean solos, etc.) Perfect for blues, country, pop, rock, etc.

I personnaly perfers the unit for clean only or with light overdrive... I don't really like compression with distortion.

the Carl Martin is WAY BETTER than the BOSS compressor, the MXR Super Comp and ,I suppose, the Dyna Comp too... it sounds like if your were in a studio... I compared it with my super comp (back to back)... and they're really not in the same league !

PROS:
* hi-fi sound quality
* vesatility
* no noise (almost no noise)
* built-in power supply
* the 4 knobs are all important !

CONS:
* price ($$$)

seems well built.

I mostly play rock, blues, progressive, metal and a bit of jazz... and it suits my style !

If I were stolen I would probably buy another one if I have the money !

I know there's a lot of other compressors out there (compulator, keeley compressor, comp nova, etc.)

but I think I found MY compressor pedal ! :)

If you're not sure, try (at least) the compulator, the keeley compressor and the carl martin compressor... and maybe others that I don't know... before taking your decision... and IF YOU CAN'T and don't want to make a mistake... the CARL MARTIN is a no brainer ! GO BUY IT ! ;op

Not difficult at all. Knobs are very sensitive due to the high level of compression/limiting this pedal is capable of, but I'm surprised some other reviewers found it difficult to set-up.

Superb, just what I've been looking for. Pristine, very low noise, completely transparent. Will do anything from subtle smoothing out of string volumes to ultra clicky. Loads of sustain. Love it.

I've owned three other pedal compressors; a Boss CS-3 with Monte Allums Opto Plus mod, a BYOC 5 knob and a TC Electronic Vintage comp. The Carl Martin is in a completely different class; three times more expensive than the others but you get what you pay for.

Not often I give a 10 but this pedal just seems to make every guitar and effect I own sound better and the transparency of the effect means I can use EQ to get just the right tone.

Had it a couple of months. OK so far. Seems sturdy.

Quite pricey but worth it. Highly recommended.

This pedal is not easy to use. I only wish it had an independent control for attack; The buffer is not bypassable, a problem with any germanium fuzz or treble booster, they simply do not get along.
Este pedal no es facil de usar. Me gustaria que tuviera un control independiente de ataque.El buffer no se puede evitar, un problema con Fuzzes de germanio o excitador de agudos, simplemente no se llevan bien.

I wish the attack could be softer.It sounds nice, but I expected a wider range of sounds. It is noisy in higher settings.Someone mentioned it is a great booster/OD. I disagree. Too harsh!
Quisiera que el ataque fuera mas suave. suena bien y discreto, pero esperaba un margen mas amplio de sonidos.Es ruidoso en ajustes altos.Alguien dijo que funcionaba bien como excitador /overdrive. No estoy de acuerdo, es muy aspero

Cheap parts in a bulky yet empty box. 5% tolerance resistors at this price level is unnaceptable. Noisy even at low levels.My plastic input jack came broken. It is not easy to fix, though.
Partes baratas en una caja estorbosa pero vacia. Una tolerancia de 5% en resistencias es inacceptable a este precio.Ruidoso a niveles bajos.My jack de entrada (plastico) llego roto, y no es facil de arreglar.

Awful. They didn`t answered when I stated that jack problem.But they once send me a catalog on their products.
Terrible. No respondieron cuando escribi por el problema del conector. Pero me enviaron un catalogo con sus productos.

Maybe I will buy something different in other ocassion. Too expensive for what it is. I shall never buy Carl Martin. Maybe T-Rex!
Quizas comprare algo diferente en otra ocasion.Muy caro para lo que es. Nunca comprare Carl Martin.Tal vez T-Rex!

First of all, this is my first compression pedal so I had no previous experience with other brands/models. Well, to say the truth I once had a Boss CS-3 but this one has NOTHING to do against the Carl Martin we are reviewing here.
The CM takes a bit to get used to, the 4 knobs are useful and affect deeply your sound but not separately, I mean, they're not usually functional at any random position and you'll have to learn to combine them in the right measure: Balance is the point. Once you control that this pedal takes the best of itself.

I put it in first position in my pedalboard: CM -> Boss NS-2 (NS-2 send to T.REX Alberta and Seymour Duncan Twin Tube Classic, then return) -> Artec EQ/Tunner -> Boss DD-6 -> Boss RV-5 -> Voodoo Lab Chorus -> Amp. I'm using a solid state Fender Frontman 212R amp, a Schecter Banshee (danelectro alike single coil neck/ SD SH-1 humbucker bridge), Schecter Hellcat (neck/middle/bridge single coils Duncan Designed SC-104).

This pedal improves the sound of my guitars A LOT. In a transparent, sweet glassy way. My guitars sounds now in pristine studio quality with bright highs at any range. The thing I most love of this pedal is that doesn't colour my tone, just make it brighter and transparent. Suits perfectly my demands. It's also a trully bypass box and I'm sure that it's built in power supply helps to it.

I purchased this two weeks ago so it's soon to tell.

Still hadn't the need to call them but I read some good reviews from other users here.

I play pop, rock, alternative rock and some blues and 70's hard rock too. Been playing for 6 years and I gig in a band where I am the only guitar player so I am very concerned about the quality and variety of my tone, and this pedal has a lot to do in that tone. It's definetly a keeper on my gear and if it were lost or stolen... blabla you already know the answer ;-)

The 4 controls interact with each other very well. If you have decent ears & don't mind trying out different combinations, you can get some truly powerful results. After all, how complicated can something be with only 4 knobs?!

Absolutely, positively, the best instrument Compressor available. Every guitar I've run through this(Gibson Les Paul Custom, Gibson 335 Deluxe solidbody, Yamaha AES620, Ibanez AH-10) sounds truly amazing: Fuller, no loss of highs, and with Incredible SUSTAIN..........

Built like the proverbial tank, very impressive.

I've never dealt with with CM CS.

The only reason I didn't give this a 10 is because they are now selling for $225-$249 new. I really lucked out, and bought one on ebay for only $105, and it was in pristine, mint condition. That said, it is still very much worth $225-$249. I am known to be extremely picky and to have an incredible ear,(you can check out my music at www.myspace.com/filthyinnocence), so it takes a great deal for me to wax so eloquently(I hope!)about a piece of gear. If you want a pedal that makes your Guitar(or bass)sound richer & fuller, with no loss of highs, and has beautiful Sustain, this CM compressor pedal is absolutely IT!!

Due to fact it's a compressor AND limiter, getting control over the effect wasn't so easy. Though Gain knob and Comp knob do what they should do other knobs are interreactive and works different depends on other settings. Personally I find this unit too tweakable for MY aplications. Really I don't want to mess with all the 'parameters'. Just wanted attack (yeah, here you got response) and Comp.

Just pristine, no sound degradation. However, this box didn't do the trick for me; it's just too polite, too studio quality. With my gear (G&L Fullerton Signature, Yamaha SA2200, MG Amplification - custom polish tube amp) I couln't get some squashed sound. This effect probably won't give you pronounced compressor effect - just a bit of fatness and/or flatness depending on particular setting. It doesn't scream "you've just started playing compressor!" I am pretty sure some of you would love this box. It's all about expectations...
I sold it and it wasn't simple decision 'cause CM Comp/Limiter is high quality product and works really well for boosting/fattening a bit your signal.

Owned it for 3 years and no problems occured. Solid.

Didn't have a chance to try. Fortunately...

I play mixture of jazz, rock, metal, ethnic music (from Frisell to Ribot, Fiuczynski etc); 12 years in biz. Good quality gear only (GL, high end yammies).

Comparing reviewed box to other comps (boss, mxr) it's just too gentle, mild. It could be advantage but not for me. I suppose some of sound purists will love the sound this pedal produces - doesn't color the sound, preserve dynamics of playing. I wouldn't buy it again unless my music direction would change.

"Ease-Of-Use" is a bit subjective here, depending on one's background with this type of device. For a true "tutorial", visit the Carl Martin website. That's your best ticket, if you're not familiar with compression, or esp., if you've used a simpler compressor in the past, as this device offers much more control than a simpler devide. This product has 4 dials (3 shaping, 1 level) which gives you the best all-around control over its use. Overall, i'd say that for the price, this CM compressor is a much better deal than any compressor that gives you only basic control over the compressing/limiting effect.

For my use (live guitar play), this is the best compressor unit i've ever seen/used. There are more comprehensive "rack-mount" units available for recording and advanced live settings, but this CM device suits best for live guitar use overall, IMO. The unit is quiet, and has its own built-in power supply. Its useful for electric as well as accoustic. Because you have comprehensive dial-control over all aspects of the compressing dynamic, you can create basically any compressor/limiting effect you need.

It seems built well; i haven't had any problems in over 1 year's use. However, i leave it "on" almost all of the time, so i can't comment on the switch - but it seems fine. The dials feel good, and track well.

No comment.

I'd rate this device high because it does exactly what it's promoted to do, and does it well. Some players use compression more as an "effect" - i.e., for the "squished" sound, or focusing on note sustaining. You can certainly meet those needs with this device; in fact it can be quite dramatic if you switch your particuar compressed effect in and out during play. MY particular use is less dramatic - more of a subtle dynamics controller, which the pedal meets well for me. Either way, i don't think you'll be dis-appointed with this product.

If you understand compression, it's easy to use. If you don't, it's a little tricky at first but they have good recommendations on their website for some settings that work well.

Pristine sound. The compression on this thing really sounds wonderful. It's clean and really allows your sound to shine through. You can set it for anything from light limiting or compression to a heavy squash.

Been perfect on every gig for years.

Built in power supply so it just has an actual chord coming out of it. I like that, one less wall wart to worry about.

The controls are laid out nicely and give you an incredibly wide range of compression settings. It sounds better than any other compressor I've ever used on my guitar.

With the response knob, you can preserve the sound of your pick attack on each note, so the tone of your notes does not suffer.