Ibanez CP-835 Compressor II

There's no compressor out there as easy to use as the Ibanez II is. With only two knobs to tweak out, is that simple or what?

Quality is this effects pedal reason to simply exist when it was in production in 1979. There's no pop turning the pedal on/off in your speakers, and this pedal uses the first new design anti-click switch so nothing is heard besides what it can do. I've used it with Tube amps and solid state. With tube amps, I have a(Huge 100w Ampeg 1969) it's very clean with warm rich compressions and the sustain allows for exciting over the top feedbacks. Used with my (Sunn 1976 full stack 200watter), wow, with the amp volume set at something like 3, out of 10, when I step on it with this pedal coupled with a distortion pedal, it sounds like the space shuttle taking off! I still get amazed to this day over how it sounds! To use this pedal correctly, it must be the first pedal in your lineup that your guitar plugs into, that's the trick of the trade. Compress and sustain all you want, it has class. And I still have the owners manual, what a trip...

I can depend on my Ibanez Compressor II CP-835 to work every time I need it. It has never failed to deliver what is needed. The construction is heavy, thick, well made and was made in, keyword--> (Japan). :-)

I never needed customer support for any reason.

Something to share to all readers. I have this friend of mine (JOSH) and he's very talented, plays keys, strings, drums, you name it. He heard a recording of me playing one day and asked me to take pictures of all my effects stuff so I did. He seen the red compressor and asked if he could inspect it closer. I brought it over recently early 2008 this year. He plugs it in, gets ready and hits it. To make a long story short, I had to pry it out of his hands afterwards. He said, he's never heard such perfectness out of a pedal compressor that size in his life. He's got tons of other compressors mfg's stuff. Now, he's beside himself, there's a giant rift in his brain and I help put it there! He's now searching for this pedal and can't find it anywhere. He goes to the music store and buys other compressors, after bringing them home he plugs in and "IF" the effect just bought doesn't sound like the Ibanez he takes them back to the store n gets his money back! I've owned this pedal (New) since store bought in 79 and simply love it to death. In fact, when I die, it's in my will to bury me with my Ibanez Compressor II CP-835. I'm not joking, (truth). Can't go to heaven without my pedal! }:-)

This pedal is very easy to use. Sustain and Level controls... you simply need to tweak your guitar setup in order to be set~!!

'This is the section I was looking forward to!! The softening effect that this compressor gives is incredible. Now some may say this is too warm and effecty, thus not as transparent as other compressors. However, this is what you want from this particular compressor. It's not sterilizing, rather it is a liquifying sound. Seriously what i mean is that it tames those shrill highs and rounds out the sound in such a beautiful and toneful way. It's very useful... you can remove this "warmth" if you want to... However, turn the sustain to noon and it's suddenly more like an effect and less a transparent. Three o'clock and you are adding a lot of sustain to your overdriven or clean signal. It does not have true bypass, as this is from '79, which came before the TB era. I use this setup to help explain the sound I was talking about:
'64 L Series Fender Mustang (olympic white)or G&L ASAT Classic Tele (natural honey finish). '65 Fender Deluxe Reverb RI- Pe Vibe Unit- Boss TU-2- Ibanez Ts9/808+ - Ibanez TS9/808+ - CP-835 II- Vox RI Clyde V848 wah- EB volume pedal into of course, the guitars.
The mustang tends to be a bit bright, and although I changed the tubes and speaker on my DRRI, it still can be bright with this guitar. This pedal very much mellows out these brittle tendencies. But not overly much in the process. It's not digital sounding, it is the analog warmth that most crave from their setup. It's there, however, it is not the most transparent compressor out there. And I've used them all, trust me on this. yet people will pay crazy prices for a REAL ross compressor, dynacomp, when this is basically the same design, other than it does not have the midrange hump that the others have. This is more of a dirty type comp. But this works for me, and it has really done wonders for that searing solo sound that I spent too long searching for.
If you want transparent, go with a Keeley or AM ross clone, if you want something that adds a unique spice to your sound, this is the pedal to use.

It's from 1979, meaning just a year younger than me... it's still going, just like me!! A+++

nothing to add

Without repeating myself too much from the above paragraph I will basically say that in my experience this is the best compressor for me. I had for years thought about this model, yet never bought it for some unknown reason. I have used: Ibanez CP9 (decent), Keeley Ross clone (very transparent, but this wasn't what I wanted, but still amazing!!), Dynacomp, and the "real" Ross grey compressor. EAch of of these provided something great to my sound; however, the Ibanez 808 style comp' was everything I wanted. Good, useable, flexible, compression and very effecty when I wanted or transparent if needed. If for some stupid unknown reason I grew dumb enough to lose this pedal, or have it stolen, I would in fact purchase another to replace it. I say... let yourself try one of these sweet babies when it crosses your path. You may hate it or you may enjoy it as I have. Either way you will have to hear it first. Otherwise you will have to go through the hours of disappointment from purchasing something you didn't want for you sound.

Bone simple, just two knobs. A very basic, plug-and-play box.

I honestly can't believe how much guys are paying for things like the old Ross, Boss and block-logo MXR compressors when this box is available. Puts out clear, punchy signal without excess treble roll-off in the lower half of the Sustain range, doesn't honk at you like the MXR, introduce a big upper midrange hump like the Ross, and won't clip out like an Orange Squeezer. I don't know of another pedal compressor that sounds better that the 835.

I've got two, but that's because I've had gear ripped off in the past, not because I'm worried about circuit or switch failure. They're built on par with the Boss, Ross and MXR stuff from the late '70s and early '80s- designed to survive touring.

??? This box has to be 20 years old, I wouldn't expect Ibanez to provide much in the way of support.

I use this box with a '69 Les Paul Custom, Thinline Tele, Warmoth-parts Tele with P-90s, and an ES-175. I can run it into anything: '60s Fender, HiWatt, Marshall, Boogie, it sounds great. It's easy to use, doesn't make noise, and doesn't load down my signal in bypass. Compression isn't for everybody- it's not a radical tone-shaper the way fuzz or chorus can be- but if you use it, be on the lookout for the 835, they're as good as it gets.

Level and sustain knobs.

more effecty-not a transparent sounding pedal even on minimum settings...seems to roll of a bit of high end,so it's probably better with a brighter amp and/or single coils.

Haven't had it too long-Ibanez stuff is pretty good,right? I don't rely on it,but i think it's solid enough-wouldn't be able to fix the switch too easily if it broke,though...not many parts for this. Still,it's benn around for 20 years and still works fine.

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as long as you don't expect it to be too subtle,it's good for those compressor type things-kind of wish it was a bit brighter,but no big deal...not for everyone.

2 knobs: Sustain and Level. This model is from the same series
as the TS-808 and features the square-plunger FET switch. Accepts a male-plug AC adapter.

The effect is pronounced with the Sustain at its minimum setting, and the midrange boosting is similar to better examples of the script Dyna-Comp. Noise levels are actually very low for a design of this era, even with the Sustain set over 50%. It does not offer the versatility of an Orange Squeezer or the justly coveted Saffron Squeeze- this unit is going to work best with traditional Fender single coils or lipstick pickups, and will really mash the output from overwound P-90s or ceramic humbuckers. As for comparisons to the Ross, I'd guess the midrange signature of this circuit rests at a slightly higher frequency.

Well built, but replacements for the FET switch are hard to come by and, more importantly, require a steady hand to install. If the switch died on this one, I'd probably transplant it to a hammond chassis and wire up true-bypass switching.

This model is over 15 years old, Ibanez couldn't care less.

A good choice for home studio use, as the range of signal boosting is mixer-friendly. For players looking for clean-tone compression a la Nashville, this is a winner because it's nowhere near as noisy as most block MXRs or the standard Boss fare, and the lowest compression ratios let triads and diatonic runs ring through. For folks looking for that "thick overdrive" sound, it's probably best applied in small doses before your pedals or hot preamp- you may have to dial back your guitar's volume to get chords to sound clearly.