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                           Compressor Limiter

Carl Martin Compressor/Limiter has been specially developed to incorporate the same features and sonic clarity found in high quality professional studio compressors. To achieve this we incorporated a variable threshold, -variable compression ratio, -variable attack and release controls and of course, a gain level.

General Guidelines on the use of the Compressor/Limiter:

Threshold: Working anti clockwise, determines how much of the signal will be compressed. This is also dependent on how much signal is fed from the instrument.

Comp: Working clockwise, determines how much compression is applied to the signal allowed by the threshold setting.

Resp: Working clockwise, determines the attack/release times, going from slow to fast. In general, if you want to hear the compressor working with a crisp attack you should use slow times. If you require just a silent limiting you should use fast times.

Gain: Working clockwise, sets the overall gain.

Busy: Indicates the amount of compression being applied, even in bypass mode. The brighter it gets, the more compression is being applied.

You can find more detailed information under manuals.



Guitar & Bass magazine (UK) July 2007 Compressor-Limiter
Carl Martin wins an pedal round up for compressor's as The Best Overall in Guitar & Bass magazine (UK) July 2007 issue.
The Carl Martin is the most complex unit in this test, and will suit those who have experience with studio compressors. This a studio quality unit that can deliver everything from subtle squash to brick-wall limiting, the Carl Martin is a do-it-all compressor.

Australian Guitar Magazine (AU) May 2002. Compressor/Limiter.
The Carl Martin on the other hand almost lives up to its boast of studio quality compression. Awesome clarity of sound, and very smooth threshold, compression, response and gain Controls combine to create the sort of useable, sensitive sound shaping any fussy player dreams of.

Electronic Musician (USA) Dec. 1999. Compressor/Limiter
The Carl Martin Compressor/Limiter has more features than most dynamic pedals and sounds better than many rack-mount processors.
Although the Carl Martin Compressor/Limiter is not exactly inexpensive, you definitely get what you pay for. I've tried lots of dynamic pedals (including the TC Parametric EQ/Sustainer), and nothing rivals this sound and versatility. This box rocks!

Guitar Player (USA) August 1999. C
The CM Compressor/Limiter may be the best sounding stomp box compressor I've heard, and it gets an Editor's Pick Award.

Recording Magazine (USA) February 1999.
We had a chance to compare the Carl Martin to a couple of similar priced, and more expensive rack mount compressors, including a popular rack tube/optocompressor. The CM was brighter, had a snappier response and offered more range of tone and tweak.

Will Ray (Hellecasters) Compressor/limiter
Finally, compression without depression! I love the LED indicator and the wide dynamic range.

John Jorgenson (Hellecasters-Elton John) Compressor/Limiter
Sophisticated, versatile and sensitive enough to enhance my playing dynamics rather than detract from them.

Jerry Donahue (Hellecasters) Compressor/Limiter
A giant leap above all compressor pedals. I even use it in the studio. It has all the right ingredients.

David Williams (Michael Jackson/Madonna etc.) Compressor/limiter
I tried it I liked it! And now I can not imagine playing without it.

MM Musikermagasinet (Sweden) April 1995. Compressor/Limiter
I have no reservations; it's simply the best compressor pedal I have tried.