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.

Treshold, Compression, Responce and Gain.
4 control knobs, more than other famous compressor (Keeley, mxr).
You need a while to set for your need, but on the other hand you got great versatility.
The manual provided on CM website is an useful guide for tweaking.

I don't give 10 because I tried the Keeley and if you need to increase sustain with a compressor thath seems to be off Keeley is the best. But the Carl martin is good quite the same. Is more versatile because it makes the keeley-like work fine and also permits to squash the sound if you want.
This pedal changed my point of view about compressor. Time ago I believed compressor was an unuseful effect, that kills dynamics and sounds artificial.
Now is always on.
I use with Clapton Strat, Marshall jcm2000 and several pedals, first position in the chain (do not connect after the wah, otherwise it will compress the wah noise too) and I play mainly rock.
perfet for Gilmour tones.

Bought 4 months ago, everything fine til today.

Never needed, anyway customer support, contacted by mail for other reason, is kind and fast to answer.

I play for hobby but I gig three/four times a month.
It is always with me. Always on.
It really worth the money spent to buy.

Very easy to use once you sit yourself down and read the manual. Grasp the concepts of compression and limiting and you will find your sound in seconds.

Very transparent. You can clearly hear the differences when you go from bypass to high compression, etc. The knobs actually do something! I have mine set to compliment the sound of my amp. In other words, it adds to the flavor and makes it sound better, rather than change it. Adds great sustain and definitely adds sweetness.

It actually makes it easier to play fast scales because you need only lightly pick the strings to hear them. Of course, it may also bring out your mistakes. This goes for all compression units.

According to Carl Martin, it is true bypass. They said that the footswitch only turns on/off the gain and that compression is still applied with the switch off, but I found this to not be the case (it would defeat the purpose of calling it "bypass" mode).

Have used it for awhile now and has not broken.

Customer support always answers my emails.

If you only get ONE pedal for your guitar, get this one!! It really, really is a must-have.

I'm rewriting this review because: 1.) I'm using a new amp, and 2.) I've become more familiar with my gear. I play alternative-rock (same as before) but I'm now using a Mesa/Boogie F-30, rather than a Peavey Classic 50. I've used this compressor with my LP Studio and my Telecaster. Sounds great with both!

This pedal has more knobs than most guitar compressors, which in my book is an advantage as it gives the power to obtain a wide range of compression types from squish to subtle. However, it is harder to use than those other compressors. I actually wish they had provided seperate knobs for attack and release, not just a single knob as my fav guitar compression usually is found with fastish attack and slowish release. With one knob you dont really know how you are shaping the dynamic envelope.

Its the best guitar pedal I've had yet and I think its a keeper. Prior to this ive owned an Analogman Bicomprossor and a Boss comrpessor. ive also used behringer composer and a FMR RNC in my rig. I think I still prefer the rack compression sounds the most, but they are not as easily incorporated into a rig.
I found the analogman bicomp to be just too compressed. It dealt manic doses of compression even at the lowest setting and it really choked my tone. It was more of a comrpession effect than a subtle dynamic enhancement. hence I sold it.
The Carl Martin is able to squish heaps but you can also use it more subtely. Its not the best sound, and I still often prefer the off sound for its raspiness. Noentheless it is a useful sound I can kick in at times for more sustain, or for funky punchy riffing.
I have heard better compression sounds, but I think this is from rack units patched post microphone.
My mian gripe is with the lack of true bypass. I spent some time recording the patched in (but off) and patched out sounds and found a very subtle but important difference in tone. The pedal effects the tone slightly even when off which is only slight but its irritating and there is just that hint more growl and bite when the pedal is taken out of the rig.

Haven't had a problem yet, but my Carl Martin Delayla pedal has broken three times now. I'm concerned about that. BUt the Carl Martin distributor in Australia has been very good to me and has replaced it each time.

AS said, the distributor in australia (network entertainment) has been great so far.

I think its a keeper. Time will tell whether it becomes more a part of my sound or if I find something better.

The manual is online if you feel lost, good service.
I am used to studio comps so I felt quite familiar with this one.

Superb studio quality sounds, I like to have both kind of compressors, both those who colours you sound and does nothing but squishes and pops.
But I have a defenite need for a very quite and discrete compressor that actually does the job of compressing, I do not use it as an effect.
It is an integral part of my setup, it is always on when I am not using
my old Ross.

Had it for almost 3 years now.
It still sits there and does its job.

Had a few questions about some other stuff they make, polite swift answers.
They are cool in my book.

This is a industry standart compressor, fashions comes and goes, this one and my old Ross is all what I have left from a fleet of compressors that I used to have.
If you crave studio quality at the floor, get this one.
There maybe others with different features and such, but this one works everytime.
Plus it is extremely flexible and will not let you down, of course for those who picks and picks...etc etc there is no hope for such picky ones;)they always busy picking, I can concentrate on playing, highest praise for me.

Well it requires alittle understanding, but once you have gotten into it, it makes good sense.
There is an online description on their site.

I use with my Hiwatt DR103 1970 top with an org Hiwatt 4x12 cab + a Fender Concert(the drivechannel was modded for more gain and fatness)it is one of the new breeds.
Two strats, one Schecter strat from the 80's with 3 SD APS-1's, the other is a Frankenstrat with only a humbucker and one stack singlecoil, a hotstack and a JB.
Both in limiting and normal compressor mode it works silently.
I use it for compression mostly, switch it on and forgets about it, it lives in my rack and is simply on all the time.
I play hardrock and some country rock as a hired hand, plus some studio stuff.
It is one of the best floorunits I ever have used.

I have had mine for a year now, works perfect, never a problem.
Is considering buying another one for my extra setup.
Make that two more at the end of the day.

Asked CM about a few things, swift and polite reply, topnotch company.

I play various styles, it is required in my line of work.
So my demands are big, and it delivered bigtime on my expetations.
Love the 12v supply, lots of headroom in this one.
No cons, a slight learning curve but that is allright considering the cool options it gives you.
Very swift and quiet compressor, ads a nice open timbre to the sound, nothing annoying, it was like taking off a blanket from the speakers, and without any harshness added.
This is a real compressor, not just something that simply squishes and color your sound, it can do it all and then be set for a very natural sound unlike a few other units, nothing wrong in that, but the bonus is that it can become one with your sound was the selling point for me.
It is worth its money.

I gave it a 9 because I've had my Dyna Comp since I bought it new in the early 70's. The Martin is not in the same league with the DC or the other way around. This is like having a studio grade comp on your pedal board.

Guitars (many) Amps (Kendricks and Rivera's)Signal chain-> Carl Martin->Dyna Comp->Line 6 Dist->Aramat Green Machine->Line 6 Modulator->Boss Chorus->Tech 21->Super Hard On->Rivera TBR 1M-> two 2x12 ADA boxes with green backs. I've come real close to nailing my DC's sound without the noise. The DC's been on since 1978 I didn't realize how noisy it was but I still love it. I love the Orange Squeezer too but this CM is the Beezz Kneezz's. You can use it as a clean boost too which allowed me to get my Buff Fuzz (which is really big) off for a while. The CM is dead on quiet!

Pots are the only thing I would question. But it seems perty sturdy!
It's clean, it rocks, and power is built in! What an excellent idea.

Bought this because I bought a VTP Orange Squeezer 6 months ago that has never shipped. Got the Carl Martin in 5 days! Written material was good, web site helps too.

This is like having three different pedals. You turn a knob and something actuially happens without the grit and noise associated with some comps..

You're going to need some help with this one. Their webpage has an excellent online manual, and it's a piece of cake after that.

Wow, this is the business! Very transparent sound, doesn't squash your tone and extremely quiet. I play with this permanently on, just fattening up my sound. Great pedal! Did I mention it doesn't squash your tone?

Bought it second hand, pedal is about three years old. No problem's so far...

Haven't dealt with Carl Martin directly, but through Andy McGibbon's guitar world in South Africa - great people.

Not a cheap pedal, but it sounds so damn good. Never really thought I would use a compressor in either of my rigs, let alone use one ALL THE TIME. It just thickens my tone and adds extra hang time to my bends, which I love. Works equally well with my PRS custom 22 and my Larrivee OMV5E. Hands down the best sounding compressor pedal available. If it were lost or stolen I would certainly buy another, and quickly!

Actually its rather easy to use when you get the hold of it. There are a few knots, so you have to mingle around for a while - but you will get the idear of how this unit works quite quickly.

I bought this one because i needed something to beef up the sound of my overdrive pedal (for solos and such). I think this is the best compressor pedal out there, but I found it hard to get the sound I was looking for. I think I'm juct not much of a "compression man" - I play blues and like the natural warmth of my tone. !!!!However!!!! - this unit works GREAT as booster set before the overdrive unit in the effects chain. I use it as a volume boost with NO compression. Believe me - this unit doesn't colour your tone at all! It just gives me more of what my overdrive pedal already has to offer - just what I was looking for. I take away ALL compression and turn the wolume to 1 o'clock - try it yourself - it really gets your tone singing!!

works for me - never had a problem - however the knots seem a bit exposed

never dealt with them

The best BOOSTER i have EVER had - just what I was looking for - I believe this one will stay in my setup for ever

EASY TO USE

USED FOR GUITAR.QUIETEST COMPRESSOR I EVER HEARD IN A STOMP BOX.GREAT FOR THAT COMPRESSED SOUND IN ANOTHER BRICK INE WALL.A MUST FOR PINK FLOYD.I ALSO HAVE A DYNA COMP AND A BOSS CS-2 THIS BLOWS THEM AWAY

NEVER NEEDED A BACKUP. IVE BEEN GIGGING IS STEADILY FOR PAST 16 MONTHS WITH NO PROBLEM

COMPANY FAST TO ANSWER E-MAILS AND QUITE HELPFULL

CLASSIC ROCK AND BLUES HEAVY CLAPTON AND FLOYD

Easy. Manual is online.

May take some tweaking to find a sound you prefer, though almost any setting is nice.

Great, no problems. On extreme gain it picks up more noise but I use a noise suppressor and get all the sustain without any noise.

Nice construction.

Very good. Answered emails promptly.

I play alt-rock with a bluesy edge. It helps give me a balanced tone. I never had problems with sustain as my LP and Peavey crank out smooth, singing tones already, though this helps balance it all out and lets pull-offs and trills ring out perfectly.

No manual. I know you can get one on line but... Would have been nice to have some preset examples. I started at 12o'clock with everything and have ended up with the comp toward 9 and responce toward 3. You have to have some eperience with compression to use it out of the box.

Baker and Zion >wirerless>tuner>CMcomp>bossEQ>ts>klon>CBwa>blackface fender super reverb. Sounds great. I can get the sustain I need for clean and distorted leads. I leave it on all the time. Its full and, if you tweak the gain, can get some great sounding slide sounds. The noise my system produces is not the fault of the CM. On it is own the CM is very clean.

The first one I got from same day music was DOA. Same day was great the sent another one out right away. I've read others have had simular problems. I switch it on and leave it on, so I don't know how durable it is. If I was giging every night I would have another one in the wings.

Haven't worked with the company. I like their product. But because there was no user manual in the box and my fist one was DOA, it says somthing about their customer focus.

Play mostly 70's rock. Been playing for about 30 years, not much into giging for money; free food and beer, we play alot more qigs that way and have a great time. I would buy another one. IT kind of depends on what other gear was stolen or lost with it. Its really a great effect. I would replace my klon fist but the CM comp would be my next purchase. I give it a 9 only because of the poor documentation, the DOA, and that the don't seam to know a 4 button compresor is not just plug and play. (the box did not contain instructions...come on guys)

sent it back to Musician's Friend. What's going on with Carl Martin???? I just bought a delayla, compressor and chorusIIx and they all threee have gone on the fritz!!! I sent the compressor back for warranty repair and the other two are within MF's guarantee period. I got the 2Faze and that still works. but this makes me very concerned. how could that many go that bad?

I'm getting an exchange, so I'll have to see. stomp boxes need to work, period. if they dont, it doesnt matter how good the sound is.

The manual isn't really needed if you have a basic knowledge of compression. The range of adjustment is complete, with no amount of compression or limiting unattainable. The Response control is a nice plus and gives even more flexibility in control. Lights indicating On and Active are accurate and most welcome.

So far, this is the best compressor I've ever used. It is much cleaner than the others and does not alter my instruments sound. It completely corrected the response problems of bright and dull spots in the intonation of my bass and hollow-body electric, This pedal provides something beyond simple dynamic control that I never expected. With it, I can actually control the frequency response of my instruments. I guess it makes sense that evening out your intonation would remove unwanted frequencies.

The unit is quiet. The only noise I hear is when I push the signal beyond it with post effects or boost. Compression is first in my signal chain. I can get an excellent limiting with a discernable compression with absolutely no increase in noise.

The switches don't pop, either. I don't know what a 10 is. I never gave anything a 10. This might deserve it, but I'll refrain.

Seems pretty tough and professional. Knobs and switches are solid. I hear they're attached directly to the board, however. I hope that doesn't come back to haunt me. I wouldn't throw it across the room, but I'll use it without a backup for now.

For my varied styles, this is a clearly superior effect pedal. I've been playing 35 years. I would replace it if lost and won't be shopping for another compressor as long as I can forsee this lasting.

Intuitive and easy to use. Four knobs: Threshold, Compression, Response, and Gain allows you to have extensive control to get the sound you need. Their webpage offers a very brief (manual) tutorial that will walk you through how to use it. I give it an eight here because, obviously, a 2 knob pedal would be easier, and it will take someone who is not familiar with a compressor a little time. However, do not be deterred, the sound is worth a little learning curve and you can get great sounds long before you have mastered the controls!

The sound is mostly transparent with very little noise. You can get a full "compressed" sound, or one that is barely there. In general, I use a slight variation of the set-up provided on their webpage for a "thicker" sound. The sustain is great and helps to clarify the notes when using overdrive or distortion. The gain is also great to help "drive" the tubes in my amp, which produces a beautiful, yet not muddied sound. I had been looking at Keeley, Blackbox, and Maxon. However, I did not have the chance to play any of these. Our town music stores only have the standard Boss, DOD, Ibanez, Danelectro, etc... I found the slightly used Carl Martin and it blows away the standard mass produced fare offered by Music superstores. When I played it, I believe it sounded like the reviews I read for the Keeley and the Blackbox, so for the price I knew I couldn't go wrong. I haven't.

Has held up so far and appears very sturdy.

I play (folk) rock-alt.country-americana, who's to say? I think of it as rock-n-roll, but what does that mean anymore! I have been playing over 20 years. I have a 78 Telecaster and a Fender Deluxe. The compressor is part of my set up and is usually on. It makes the clean and the overdrive channels sound better. It doesn't alter tone, but instead enhances it, it puts meat on the bone, so to speak. I feel like I was able to get a "boutique" pedal at a BOSS price and I am very happy about it!

Spend some time with the manual from their website to grasp the concepts of what the knobs do first, and you will find this pedal much more useful. Manual should have come with it, for sure. No excuse for that. once you've got the concept, it's easy to tweak.

The key to this unit is to use restraint in the amount of compression applied. My goal was to fatten the sound and even the levels without the heavy squashed tone or extra "clicky" attack you can get from over-compression. My favorite settings are : threshold 12:00; comp 9:00; resp 3:00; gain 12:00. This gives a smooth, fullness to your tone. I find it most useful for super-clean sounds through my Fender Deluxe Reverb. Mind you, if you like the squashed sound, you can also get that with this unit by dialing up the comp knob, or dialing down the threshold knob.

Seems very solid. Been using it for about 7-8 months, gigging about twice a month.

Not dealt with them.

This is greatest for the "Nashville" sound, especially with a strat in 4th or 2nd position, or a tele. I'd replace it if stolen. I don't use it in combination with any overdrive/distortion, because the noise gets magnified too much, and most of those pedals add enough compression. It is a tall pedal, but at the back of the board it is easily accessible as a result.

The manual is a great place to start with some "basic" settings. The RESP and THRES can look to be usless until you hear what they do.

I'm using the Carl Martin with a 2002 USA Strat, George L Cables, T.C. SCF, MXR Bluface Digital Delay, and a Fender '65 Twin Reissue. (clean side of rig)

I've heard that some people have some noise issues with this pedal. I haven't had any problems so far. Some people maybe cranking the gain up too much.

Looks to be pretty solid athough I wouldn't have put the "on" LED so close to stomp switch. Some people wear combat boots and that LED may get broken. Usually, the aggressive players won't be seen with a Carl Martin anyway. I'll have mine on all the time so I don't really have to worry.

Haven't dealt with them. So I'll assume they will be kind and helpful.

You may think I'm crazy, but I actually sold a Keeley Compressor to get this. Yes, I did. The Keeley's are in thier own world. They're dead quiet, and super smooth, and built very well. But, me being the compression hog that I am, didn't get enough out of the Keeley. This is where the Carl Martin shines. Plenty of compression, and options that could enable me to dial it in right. I could also dial a Keeley/ROSS sound out of it too.

If you want a meat&potatoes compressor, get the Keeley. If you want meat, taters, salt and pepper, plus A-1 compressor, get the Carl Martin.

After unpacking the unit and plugging it in, I found it to be relatively easy to use. After tweaking the controls I would say that you could even use this unit without a manual as the characteristics of the controls become evident after a little woodshedding. As far as the sonic characteristics, I would give the Carl Martin Compressor a 10 as it sounds as good as some of the more high end studio compressors I've used in the past.

Used first with a 1965 Fender Deluxe Reverb & a Tele, the Carl Martin compressor yeilded all the twangy/sustained clean tones of the Nashville scene, then plugged into a 100W Marshall Super Lead with a Les Paul, the control of the dynamics was great.

The pedal seems to be built very well. I've had mine for about 2 years. I had one problem with the switch, but I guess that could happen with any pedal. I would use it without a backup and feel comfortable.

When I had the problem with my switch, I contacted the Carl Martin warranty center (listed on the Carl Martin Website) filled out a simple form and sent the pedal back to be repaired. All I had to pay for was shipping, but most manufacturers require that. The turnaround was extremely quick and the customer service was excellent.

I play all styles of music professionally, from classical, to country, classic rock to metal. I've been playing for 32 years so I have had the chance to use every fad out there. I usually play any variety of Strat or Tele, but I also use LP's, Ibanez RGseries(for a metal gig) and Ibanez AM series semi-hollow for jazz or blues. I've used the Carl Martin Compressor with many combinations of guitar & amp and found it to be an indispensable tool for my personal playing style. Prior to owning the CM Comp I used a Bellari tube compressor, but found the CM to sound like a studio compressor, but all controls are geared more for the guitar players use. I like most that they have incorporated the thres and comp controls to be able to dial in just the right amount of compression, without all the breathing associated with most compressors that only have 2 controls onboard. All in all I would say this pedal does everything I need, fits my playing style well, is easy to use and reasonably priced, considering the features you get. I like it!

Very easy.

Studio quality.

Unreliable. Pots went bad and are prone to break.

Outside of warranty -- fogetaboutit!

Poorly designed build quality. Pots are prone to stress and will break off the board. Replacing them is not easy. The pots are hard to find and must be identical to line up with mounting holes after being soldered directly to the circuit board. Ditto with the jacks -- they mount directly on the board and must align with the mounting holes. For an expensive pedal, this is inexcusible, and, imho, the kiss of death. Mine failed after only minimal home use, and it was in perfect, like new condition when I bought it.

Easy is relative. The unit is somewhat easy to use if you are familiar with compression and somewhat difficult if you are not. I'm familiar with the concept as I have used the Boss compressor and various rack models for years. The manual is minimalistic, but offers a good explanation of each parameter and gives you a few typical settings to start with. There's a built in regulated power supply, so no wall warts. This feature is likely one reason that the pedal sits awkwardly high. However, I came to love this feature, as you can place it behind other pedals (like my Recto footswitch) and still access the on/off footswitch...very nice design.

Various guitars (Strats, LPs, PRS, Ibanez etc.) -> Carl Martin Comp/Limiter -> Cry Baby -> Triple Recto (3-ch) and (2) 212 Genz Benz G-Flex cabs. Fulltone ChoralFlange -> Alesis NanoVerb in the loop. The Carl Martin Compressor is as transparent as the finest crystal...no joke. It changes the dynamics of your sound, but not the tone. Unbelievable sound quality that rivals the best studio compression units. I use mine for slightly compressed clean sounds. I use a slightly higher gain setting in order to overdrive the front end of the Recto just enough to provide extra sustain for soloing on the two high gain channels. Awesome.

This unit is built well, and I gig without a backup.

Never had to deal with the company. Somewhat informative web-site.

This is simply the best compressor I have ever used. Your tone always comes through, and the unit must be a true bypass design, because when its off, you never know its even there. Components are of the highest quality, and there's a built in regulated power supply, so no wall warts. Icing on the cake.

It helps to pull the manuel from the Carl Martin web site. You need to understand what "threshold" and "resp" does. But within an hour of messing with it I found some great tones.

INCREDIBLE TONE. I wish I could give it a 15. It is truly transparent and no bass response loss. My Boss CS-3 is now in the drawer (I used it for 10 years but now it's bye - bye -- I did a side by side comparison and WOW) My favoite settings on the Carl Martin are as a limiter ( that is resp knob fully clockwise and thres. set so it just beeps on with the peaks, comp is at 10:00 and gain set to make up for loss. ) the tone is just gorgeous. I play a customized 1989 EC Strat with aftermarket P.U. s - also a no-name big hollowbody with great P-90s and a custom tele. with b - bender. Here's the chain: Carl Martin limiter----Tube Screamer-----Boss EQ----Ibanez analog delay ---- Fender vibrolux or Allen Old Flame. (notice the absence of digital junk) This compressor made a huge difference in chime and clarity. It is not noisy at all. I've played 35 years - mostly like rockabilly, funk, R+B

don't know yet. I carry a backup compressor - hope i never need it.

This is the compressor to own if you care about preserving real tone. I would buy another if necessary. Well worth the price. The foot switch seems a little flimsy but so far it ain't broke.

I thought this pedal is quite easy to use. If someone is unfamiliar with compressors and how they work it will take some playing with the knobs to get familiar with it.

I play a six string bass and it handles everything with beatiful integrity, even when I tune down to a low A. This is a very well made pedal.

I have never had any problems with the pedal. I've been using it at gigs regularily for about 6 months now.

I play bass, and have done so for 12 years. I use a ton of effects, everything from the EH Polychorus and Q-Tron+ to the Moogerfooger phaser. I bought the Carl Martin compressor after trying out quite a few different ones, namely Boss, MXR etc. For the bass the Carl Martin blew them all away. It doesn't fart out on the low end, not even when I tune the low B on my 6-string down to an A. For a pedal compressor it is top-notch. Sure, it's not going to be like a Manley vari-mu, but it is for a totally different purpose.

Matthew Freed
domobass@aol.com
www.thedomosound.com

There are several different settings that you can use for this pedal; you have to go to the online manual to really take advantage of its features, there really should be a manual included. You should read the manual to understand how the response knob works. But once you've played with it there is good deal of versitility to work with. I like to set my pedals and forget them, but I find myself using two or three different settings on this one depending on the situation. I find this to be a good thing. It does the full array of stuff you can do with a compressor for instrument usage.

Crystal clear transparancy. The dealer who sold me the pedal left always his on, with the compression off, at the end of his effects chain as a gain boost to hit the amp with a harder signal because of the boutique pedals he owned, this was the one that did not alter his sound at all. Turn the compression off, set the gain flat and when you turn it off and on, you'll hear no tonal change at all.

With all that said, when the compression's on, I'm amazed at how much it warms up my sound. Rather, it fattens it up very nicely. I'd thought of compressors as something that basically changed the amps behaviour more than it's sound, but I'm re-thinking that now. I play a Fender Japanese re-issue strat, a Hamer Archtop and an Ibanez RG-550, all with aftermarket pickups, through a Rivera Hundred Duo Twelve which has a boost on two different channels.

But when I use the compressor for a gain boost instead of the amp's, it achieves a a different sort of tone, very warm and organic, not as edgy. I can even use it with the Rivera's "Fenderish" channel boosted; it only gets out of control or excessively noisy when trying to use it with a really high gain boost. I can set it to get some nice sag, or for hard limiting, or so that it's not really noticable yet providing great sustain. Clean chords chime with a psuedo-chorused shimmer better than any other compressor pedal I've tried. I never need to turn the compression up past the 11 o'clock position.

Best of all, if you use somewhat more subtle settings that lean towards the limiting feature on the Carl Martin by reducing the threshold and adjusting the response knob correctly, you can get the complete dynamics range on your guitar when you turn its volume knob down around half or so. From as quiet as you like to Townsend like hits depending how hard or soft you strike the strings. Then turn your guitar up, and you're in compression heaven again.

Like any compressor, the more gain you use on your gear the more your noise floor is going to come up; make appropriate adjustments.

I had been using a Boss CS compressor until I bought the Carl Martin. At this point I don't even know where it's gone to. Boss makes some pretty good stuff, but there is no comparison here. I've also tried some boutique compressors like the Way Huge Saffron Squeeze and was not very impressed.

I have started noting at higher gain settings I've started getting a small pop when I use the switch if I'm not playing. So far this is something I can live with if it doesn't get worse. I've had the pedal for going on a year now, it's held up fine although it hasn't seen lots of abuse.

I've never dealt with them. I believe they are in Denmark so I don't know if that would be a hassle or not.

I've played all kinds of rock, from bluesy to pop to metallic stuff for many years. I'd have to get another if this one disappeared. By the way, it comes with it's own AC cord built in. Whoo-hoo! It also has an LED that lets you see how much signal its' getting. That can be a really useful feature when you are setting the pedal. You can do a lot of stuff with it, it's quiet, clean, and yet does a great job
at helping you sculpt a sound. Some people claim that other high end compressor pedals have a warmer sound, and maybe they do a particular thing well or they clolor the sound in a fashion that some people like. But I've never been convinced.

If you feel that a compressor is a crucial item to have in front of your instrument, you have to check one out.

There is a manual online, but none included with it..pretty lame for a $200 pedal...the controls are interactive, but they are easy to use once you understand compression

The sound quality is superb...this will surpass any comp. pedal in terms of sound...it is very transparent and can really be used as either a comp or a limiter..not noisy...

My footswitch has broken 2x in 8 mos....pretty bad..it was repaired and shipped for free, but I had to wait about three weeks...still it seems that the switch is very delicate...not road worthy...I would never gig this w/o a backup...but the electronics have been fine, just the simple mechanical problem, and to make it worse you cannot fit a heavy-duty wah type switch to it

the rep in New Jersey was helpful, but it seems he has a hard time getting co-operation from Carl Martin...as I said he did cover my shipping costs, and the footswitch is not his fault so I give him an 8 but CM a 5

I love this comp, but the footswitch is the achilles heel...if they could correct it it would really be something, but a studio quality comp/limiter in pedal form with a footswitch thats too delicate to use on stage is just a studio comp in a pedal...what's the point?

Great compression in a stompbox, probably the best one out there. I've had no RF problems at all, as mentioned by the previous review. RF seems to be a "local" problem, so perhaps it depends on the local environment.

Use an LP and Strat, both with great results.

No problems.

My emails to the US distributor were promptly replied to.

Great Box. Will improve any rig.

I briefly owned this pedal two years ago. I am exploring compressors again and wanted to comment on this one. I plan to look at the new Blackbox Oxygen and Analog Man's CompROSSor.

The Carl Martin Compressor/Limiter has an excellent range of adjustments for a stompbox compressor. See the online instruction sheet for pointers and additional ideas on how to use.

Mixed bag here. I like the sound of this compressor the most of all stompbox compressors I've heard yet. It can be adjusted for subtle compression of a high output guitar signal without squashing. I've owned the Saffron Squeeze and Marshall ED-1, too. The Carl Martin is the most transparent. However, there is a major problem with it that forced me to return it. At my house, it picked up a lot of RF noise which in the same rig neither of the other two compressors had any problems. I communicated with Carl Martin Denmark and they ackknowledged the RF rejection issue, but had no fix. Because of the RF issue, I have to lower the rating here. Perhaps the newer ones are redesigned?

Sure, I'd gig without a backup, but then it's no big loss for me to do without a compressor if it quits working at a gig.

Excellent communication, both with TC US when they still distributed Carl Martin, and also the folks in Denmark.

True Bypass would be nice, but then it's wouldn't be such an excellent buffer. If they would fix the RF rejection problem I would get one again.

The pedal is a tad complicated but after a while you'll learn how to get great sounds out of it. There is no manual, but if you go to www.carlmartin.com you can just print out the official ones.

OK. Here's a secret set-up that I've worked on for a while. The order is Gibson Les Paul Standard > Carl Martin Compressor/Limiter > Boss GE-7 EQ > Boss CE-5 Chorus Ensemble > Fender Hot Rod Deluxe... There are advantages and disadvantages of the Carl Martin Compressor. The Good = 1~You get really cleaned-up tones so even strumming chords sounds great b/c the distortion is really tight. 2~The sustain is unbelievable. I already have an all-tube amp which has great sustain, but this pedal sustains solos and chords forever.
The Bad = 1~Noise... If you turn up the knobs too much, much noise. But, if you don't want to max out the pedal then no problems.

Very reliable. Sturdy and tough just like Boss pedals. I would only need one of these wherever I go.

Never had to talk to them, though I can imagine it must be tough b/c Carl Martin is a foreign company and these pedals are imports.

I'm a praise leader for my church and thus I've been looking all my life for clean, tight distortion. This pedal (along with the other things mentioned) finally helped me to achieve just that. Whether if I'm strumming or soloing or playing arpeggios, this is simply the pedal to get. Only problem - it's expensive. Retail for 300 bucks, maybe you can get it 150 at the cheapest. But it's really worth the money, even if it's double other pedal prices. You don't really need that many pedals once you've got the compressor and the EQ, those two pretty much can shape any sound you want.

There is a learning curve in getting good results with this pedal. There is no manual with it but you can print one from their website
www.carlmartin.com. Trust your ears and be patient. This box is capable of more subtlety than most stompbox compressors.

I use various strat type guitars through a Matchless Lightning or
Mesa Boogie Blue Angel with delay and occasionally othe effects. It
is quiet as compressors go and gets a comparatively wide range of
sounds. I am rating this 8 which should be regarded as excellent.

It seems well built.

Have had no dealings with the manufacturer.

As the owner of several compressors (MXR / Electro Harmonix / Boss)
I can honestly say that this pedal is the most versatile. It is also the most expensive. If compression is an important component of your sound then it is worth looking into. I leave my compressor on all the time! If not the Boss would probably meet your needs at less than half the price.

While I have played for 15 years, I just never owned a compressor. Boy, have I been missing out! To start with, I used the settings recommended on their web site. It's a good starting point.

I use it with a custom tele and a Marshall jubilee combo. This unit is very quiet and transparent. It does a great job of booster low frequencies, and just evens out your whole volume and attack. It's great! And by using it, all of a sudden I have complete control over feedback just by facing my amp. I leave this effect on for all my songs. Used with a TS-9, it's really a great tone for rock soloing.

I run from my wireless, to a stage tuner, then to my compressor, then to a Teese wah, etc. It's important to run this effect first in your signal line.

BTW, I first heard about this compressor in a Guitar Player review. They gave it a good rating,and I concur.

Seems plenty solid. It is a bit higher than any of my other effects, so those with a pedal board need to think about that if they don't have much clearance.

Haven't used them yet, so N/A.

I really couldn't be happier with it. If you can't find one used, and can't swallow the $200 they average at, then try the marshall footpedal compressor. I've heard good things about those. But if mine got stolen, I'd certain buy another one.

Fairly easy, but does take some work. The setting they recommend on their website is a good place to start.

Clean, clear, and unbelievable sustain, I can't get over how this pedal will keep things going. hard to explain, but it seems to brighten, bring out the notes better. i leave it on all the time, so the no-true-bypass is not a problem for me. no battery! it's quiet unless you turn up the gain too high, but there is no need for the gain to be up that high.

Looks like it's built well.

My emails got answered promptly, but no manual is not good, and their website suggests talking to an engineer to understand the use of compression. Why should I ask another company to explain your pedal? They need to write a report on compression and put it on their website, and they need a manual with a handful of suggestions.

Best compressor out there by far. I'm SO glad I did not buy an overpriced saffron squeeze or an overpriced ross. If you want the top end compressor this is it. It cleans things up so well, that I hardly need my chorus for that, it's unreal. and you can set it so that you can tell a compressor is on or not. If you'll notice, these are never for sale on HC or ebay, all the others are. and they are hard to find b/c companies keep selling out.

This pedal is very easy to use. Takes a while to dial in your desired settings at first, but after that, its a peice of cake. There was no manual that came with it, but after doing some research, Carl Martin has set up one on its web page (carl martin.com). The reviews above also helped a great deal in the ease of use of this product.

The sound is great on this unit, much better than the MXR, Ross, Boss pedals. You can get that squashed tone like the MXR but you have the versatility to get even more defined tone, way beyond the other effects. Not a peap, no noise here, can't even tell the thing is on. You can get that wet sound that Trey from Phish does, very cool. The pedal also make your distortion more cleaner, the notes just sing out.

Unit is made well. Just got it so I'm not to sure how it will handle out in the world. Nobs are sturty, well built little box. Love the already preasant power chord.

Didn't deal directly with the company, went through a out side dealer.

This little box is the s@#t. I am pleased one hundred persent. Like I said, once you get the thing working its amazing. You can play lines clean and clear, funk away the chords and the sound stays right with you. If it was stolen I would be very upset at this point. If your getting down about compression pedals, don't even think, go out and get this wonder box (believe me, I have been there).

This is by far the simplest compressor I've used, even though it has 4 knobs. Some people get frustrated using a compressor because they don't understand them. Have patience and more importantly, get a good compressor!
You can get a good "starting" sound with all knobs in the 12:00 position.
However, I give it a 9 because of no manual. That's just dumb.

I don't understand the reviewers that didn't like this pedal. I've used 3 of them, and they are studio quiet. In comparison, the Boss and MXR sound like sandstorms! Even through distortion pedals, this thing is silent!
I never use it at extreme settings. I love it because it doesn't pump or cut notes like other compressor pedals do. It is very musical. Over the years, I never used a compressor. I knew what they were supposed to do, but when I bought one I was always dissappointed. The Carl Martin gives me the sounds I've been looking for - and know I can't live without it.

It is solidly built. The switch feels like it could be a little heavier, but I've had no problems. Also, it would be nice if the controls were recessed (like on a Boss). These are potential, not actual, problems.

I've never needed a repair or anything, but they've never responded to my e-mail inquiries. They're in Denmark...

It's a little pricey for a compressor pedal, but I'd buy it again. If you've been frustrated by the mainstream compressors, the Carl Martin will change your mind!

It is not very easy to use. Instructions were non-existant. Perhaps someone with more basic experience in compressors would have had an easier time. There is an LED labelled "busy". I never did figure out exactly what it did. It flashed brighter and dimmer all the time, whether the effect was on or off.

Controls seemed to be incredibly sensitive in some parts of their range and have no effect in other parts. The controls interacted. Changing one changed the required resetting another. The pedal was very noisy, even as first effect in the chain. Generated this noise whether a guitar was plugged in or not. What I was looking for was an effect which would enhance the ring and add a little sustain. Once I got a feel for the abilities of the device I realized that its ability to improve over the natural characteristics of the amp and guitar were very limited, subtle, if any, and difficult to keep dialed in.

I guess I noticed the superficial resemblance to the TC Electronics foot pedal and, since the price range was similar, set my expectations high. I made a mistake. The knobs and footswitch were of perceptibly lower quality. The effect housing was gigantic, but no weight to it. It picked up the local mexican radio station. It would audibly hum when my foot was poised over the pedal. I really don't know if this unit was defective or simply a poor design. It was so big, clumsy, hard to use, cheaply made, and expensive that I didn't care. I sent it back from whence it came. Good riddance.

Easy enough, Not as easy as say a two knob compressor but The threshhold knob is really nice because it really interacts with the overall volume you are playing at, Which always changes night to night. The extra knobs really help you dial it in just right. If one night you have it sounding just right and you don't move the knobs, the next night at a different venue you might sound squashed. reach for the threshold first. A simple move here might get you the sound you had before.

I've tried them all, This is the quietest floor compressor no doubt. It does it's job and is bone quiet to boot.

Don't know but seems built well

The Way huge Saffron Squeeze is very, very good and simple to use, The Ross sounds great and has a lot of snap on the strings but is kinda noisy. The Boss stuff has funky attack and I also think the Dyna Comp is hard to get a good sound without the squash. This is the Best Compressor out there. Maybe a little harder to use but worth the effort.

Great sound, especially compared to my re-issue MXR DynaComp, NO manual only a flier explaining a little about each new Carl Martin pedal.

Using this pedal with a Marshall JMP-1 pre-amp. I was very surprised to find this pedal SO versatile, that I was able to get 2 new sounds out of my JMP, 1) Distortion compressed SO much that it becomes Clean, very cool,the kind of clean I always wished for, in the JMP(IMHO). 2) Distortion compressed just enough to let individual notes ,(hammering or pulling etc.) have the same volume as the power chord you just bashed out, TOO cool. In the effects chain, it comes after Fulltone Clyde Wah, and EH Q-Tron, all other pedals follow. Pretty noisey if you turn the pedals' gain knob WAY more than necessary, but even then, the Hush SuperC handles it.

The pedal seems solid and reliable, However I did stomp the stomp switch switch in pieces, I replaced it myself with an Alco 3PDT .

Never dealt with the company, heard they were hard though.

I purchased this pedal in July of '98 and held off from posting this review to see if the newness would wear off. It hasn't. I feel this is the best compressor pedal on the market. I would definitely buy again if it were stolen.