Controls

• Comp - Controls the amount/ratio of dynamic range compression of the audio signal.  Higher compression ratios (clockwise) compress the instrument's dynamic range, which makes everything sound louder.  Loud signals are turned down, softer signals are turned up.  To hear this in action, turn up the gain then with the compression knob at 1:1 (completely counter-clockwise), hit a note and slowly turn up the compression as the note is ringing.  The result is that the instrument sounds "cranked up" (especially at higher gain settings).  Increasing compression and/or gain also increases sustain.
• Limit - This controls the limiting threshold.  The limiting threshold causes louder signals which exceed the limit threshold to be "squashed" (turned down).  In effect, this sets the upper limit which the signal cannot exceed.  Turn the control counter-clockwise to lower the limit threshold (the signal will be squashed at lower and lower volumes) and turn the control clockwise to raise the threshold limit (higher level signals will be allowed through without being squashed).  Too much limiting can cause the signal to sound dull and lifeless because it kills signal dynamics if overused.
• Gate - This sets the gate threshold.  When the signal falls below the gate threshold, the noise gate turns on and "mutes" the compressor output.  At high compression levels, the signal may be very noisy when no notes are being played.  This is because a compressor also turns up any noise present at the input along with any instrument signal (the compressor doesn't add any noise of it's own, merely amplifiies any noise from the instrument or other effects).  To set the gate threshold, start with the knob completely counter clockwise.  With the instrument plugged in, turn the gate knob clockwise until the noise level is completely silent or very quiet.  Now play a note and let it ring, if the noise gate turns on too soon and cuts off the end of the note sustain, the turn the gate knob counter clockwise (lowering the gate threshold) until the gate turns on at an acceptably low signal level.  Sometimes a quick gating action is preferrable as it results in a crisp cut off when ringing chords or notes are muted.  This can be achieved by setting the release time at its fastest setting and turning the gate clockwise until the muted signal is completely quiet.
• Release - Controls the release time for compression and limiting and sets the noise gate attack time.  If you hear undersirable "pumping" or "breathing" effects in the compressed signal, turn the release switch clockwise to a higher release time setting.
• Gain - Controls the amount of post compression gain.
• Dirt - Controls the amount of saturation and signal distortion which can be added to warm up the signal.  This saturation can be very subtle at lower gain and is more noticeable at higher gain settings.

Features True Bypass switching.

All specifications subject to change without notice