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boss cs 2 compressor manual

boss cs 2 compressor manual

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boss cs 2 compressor manualCreate one here. Product replaced by the Boss CS-3 Compression Sustainer. G601721302 2002-2-D3-2Y BOSS Corporation. INSTRUCTIONS. Please read the instructions carefully. The BOSS CS-3 is a compression.,,,, Creators are allowed to post content they produce to the platform, so long as they comply with our policies. United Kingdom. Company number 10637289. Search results for: (found: ) ask for a document File Date Descr Size Popular Mfg Model: Found in chassis2model: Found in repair tips. For a better experience, please enable JavaScript in your browser before proceeding. It may not display this or other websites correctly. You should upgrade or use an alternative browser. A compressor to me is the least intuitive effect. It can be very subtle by nature, so it took me a while to grasp how the controls interact (not the CS-2, but compressors in general). Also, people tend to set them so they pump and don't sound natural. I hate unnatural effects. The CS-2 CAN be set to be natural, so that it fattens and evens out your tone. The controls are actually pretty simple. The level controls the overall volume level of the CS-2 when engaged. You want your bypassed tone to be as loud as your compressed tone, so set accordingly. Unless, you want to use the CS-2 as a sort of boost, and in that case, crank it. According to the manual, the Attack knob adds 'attack' when you turn it clockwise. I think what's really going on, is that when you turn the knob clockwise, you get a slower attack time. Counterclockwise, the attack time is increased. Finally, Sustain controls how much the signal is being compressed. I believe this to be a threshold control, and the more you turn the knob clockwise, the lower the threshold. When it's maxed, you end up bringing all of the amp noise and static, so you have to be careful. My favorite setting, is this: Level: 3:00 Attack: Maxed Sustain: 3:00 You get some nice evening out of the strings, but not a whole lot of nastiness.

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I want the compressor to be transparent, so that you only really notice what it was doing when you bypass it. Overall, the CS-2 is indeed classic. Follow this Product Overview From 1981 to 1986, the Boss CS-2 Compression Sustainer was one of the few go-to compressor options. Over thirty years later, people still seek out this rugged and reliable classic for its smooth tone and even response. Gallery Product Specs Brand Boss Model CS-2 Compression Sustainer (Black Label) Finish Blue Year 1981 - 1986 Made In Japan Show More Similar Products From the Price Guide Sell Yours Please check the fields highlighted in red.Currency. Capable of serving bright, punchy attack that barrels through a mix thanks to the pedal’s construction on photocouplers, the CS-1 can put that bright twang needed for a country tune or added presence for soloing. In the CS-1 this is done by using photocouplers. The later CS-2 and CS-3 used VCA’s (Voltage Controlled Amplifier) to create the same effect. The sound of the CS-1 is thus very different from its successors. Information about the FM3 may be incomplete or wrong, it's being worked on. The RMS detector type has been improved resulting in smoother decay.Studio FF Compressor 2 is similar to Studio FF Compressor 1 (formerly called Studio Compressor) except that it is an “upwards compressor” as opposed to a downwards compressor. Studio FB Compressor 1 and 2 are feedback compressors with downwards and upwards compression respectively. As these are feedback compressors, they yield a different sound than a feedforward compressor commonly referred to as “fat” with smoother dynamics.When set to negative values, the block compresses the signal. When set to positive values, the block expands the signal. Use it before the Amp block to smooth out your licks and increase sustain, or use it after the Amp block for instant “Hit Record” sound. Since this type uses “variable mu” processing it may add subtle, and possibly desirable, distortion to the audioStudio FB Compressor 1 and 2 are feedback compressors with downwards and upwards compression respectively. As these are feedback compressors, they yield a different sound than a feedforward compressor commonly referred to as “fat” with smoother dynamics.The LA-2A and many other compressors use rectifiers as detectors because it's easy and simple. Whether or not true-RMS is better in actual real-world applications is debatable. There are those that claim that true-RMS detectors more closely replicate the natural compression behavior of the human auditory system. Peak detectors respond more rapidly to transients while RMS detectors have a smoother behavior. It's a generic optical compressor that can be adjusted to sound like a variety of compressors.In existing presets containing a Compressor type that didn’t have a Threshold yet, the value is set to -60dB. Adjust if necessary.If one is low the other should be high. Otherwise the detector will not filter enough. This is the nature of compressors. We allow you to use low times but you should be aware that it can cause distortion. Very low attack times will result in detector chatter.But there are a few compressors with Blend or Mix controls. Use the Mix parameter in the model.Set the sidechain high-cut to around 200 Hz. Now low notes will get compressed more than high notes. This will make the lows clearer when digging in. This is like a variable high-pass filter that gets more intense the harder you play. When you play lightly the compressor will do nothing. As you play harder low frequencies will have less gain than high frequencies. For a more intense effect use the filter section of the sidechain.It has to make assumptions about the incoming level which is just a guess since every guitar is different.It uses less CPU than the other detectors.More information It works great! Because I play vintage output guitars, I like to boost the level going in by adjusting the output of the input block before it. Personally, however, I prefer a faster release, in the neighborhood of 75ms or less.Leave it at the default setting. When using this effect, I like to increase level before the compressor.Keep compression low and set its output level as desired.To reduce pumping caused by low or high end spikes, you can use sidechain filtering to make the compressor less sensitive to such peaks. Very fast and very slow release times tend to make a compressor seem more resistant to pumping, but can bring issues of their own. Another possibility is to switch to a multiband compressor, which handles lows, mids and highs individually. Our payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Please try again.Please try again.In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Page 1 of 1 Start over Page 1 of 1 In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Register a free business account Please try your search again later.Onboard Level, Tone, Attack and Sustain controls for precise tonal shaping, and the low-noise design allows super-quiet operation. This is the perfect pedal for guitarists and bassists who want to sound their best.This is the perfect pedal for guitarists and bassists who want to sound their best.Click here to make a request to customer service.Amazon calculates a product’s star ratings based on a machine learned model instead of a raw data average. The model takes into account factors including the age of a rating, whether the ratings are from verified purchasers, and factors that establish reviewer trustworthiness. Please try again later. Finn 3. out of 5 stars It doesnt seem to give much sustain at 12 o clock and when sustain is cranked the attack gets too punchy and ruins it when my distortion is on. Also the volume seems to go up and down because of the compression but it just does it at the wrong time. Thats a bit inconvenient. It does however make my cleans sound brighter and the attack is decent if dialed down. The pedal isnt tru bypass either. If the volume is up on the pedal to brighten your cleans, youll need to adjust your distortion volume or kick the compressor off before the distortion.but what song gives you time for that. To remedy this just get a volume pedal. I dont claim to be a pro with this pedal at all.I'm playing a Gretsch Jim Dandy with a Gretsch pickup in the sound hole through an amp modeler and into a PA system. I'm very satisfied with what I'm getting. I'm using other peddles in the line, but this one can stand by itself in front of the preamp or amp.highly recommend for a balanced sound live.It does sustain the note and the rise and fall of the volume seems to be lessened. I would not order it again knowing what I know now!It gets the job done very well. You can trust Boss! Go for it!Great sound, works as expected. I went to a music specialty store, the guy behind the counter has one of these and recommended it. They didn't have it so I ordered online. It arrived fast and works perfectly. Love it.Removed the extra noise that my other compressor had. I really like this one.What can I say? I'm a punk guitarist and I live in a block of flats so have to keep my (Marshall) combo down in volume. My Les Paul begins to play itself, even with the amp low. It's also very sturdy as you'd expect with a Boss pedal. Never mind the bollocks here's the Boss CS-3!Sorry, we failed to record your vote. Please try again My previous compressor pedal packed up and I replaced it with this. Not disappointed. does exactly what it's supposed to do and is pretty quiet compared to other compressor pedals I have heard. Boss is a great make (I have other Boss pedals which are fantastic).Sorry, we failed to record your vote. Please try again I heard quite a few compressors can cause a bit of a noise but this is so quiet until you star cranking the sustain (and volume which you'd expect) up past about 3 o'clockSorry, we failed to record your vote. Please try again Expected Boss quality. Sustain not as long as I might like, but I probably expected too much. Noticeably better than my cheaper Behringer sustainer compressor pedal, but then it cost rather more. I would buy this again, but its unlikely I’d need to, great build quality.Sorry, we failed to record your vote. Please try again Still having a play around with it but it’s fairly straight forward to use, there’s no right way, you just experiment until you’re happy with the sound. And being a Boss pedal it’s as tough and sturdy as a tank!Sorry, we failed to record your vote. Please try again Sorry, we failed to record your vote. Please try again It is easily as good as the Vox but with that extra something you expect from Boss. Easily 5 starsSorry, we failed to record your vote. Please try again Playing without it is like eating a sandwich without the bread.nothing more to say.Sorry, we failed to record your vote. Please try again Play this with their DS 1 and you can shred like mad!!Sorry, we failed to record your vote. Please try again This does exactly what I want. Sure there might be better ones out there, but at this price point I cant complain. Amp quality is good, pedal isn't noisy, and no issues with the dials. Definitely an improvement. I have 4 basses and this pedal is almost always on when I play.Sorry, we failed to record your vote. Please try again. The crossrail reference is of course to the east-west rail scheme, which is. In the long term the gold monetisation scheme should succeed. Gold monetisation scheme yields 3 tonnes, govt may tweak it further to lure investors. I have the CS-3 Compressor and was wondering if you guys had any. Description, Boss CS-3 compression sustainer guitar effects pedal, boxed; together with. A two level superimposed coding scheme for partial match retrieval. Scheme 3: NIST Base password plus modification. City centre roadworks: Norwich transport boss says “worst is over”. Get rid of that crumby Boss CS-2 or CS-3 and build this!. This is much better than a boss compressor (CS-1). Boss CS-3 Compressor Sustainer (Japan). CS Wamalwa champions for voter registration as IEBC deadline inches closer.Viral video of police 'beating UoN students' under probe - police boss says. A few of the shops listed here have internal paint scheme design staff and never refer. BOSS Aircraft Refinishers, Salisbury, NC. BOSS in this case) and create queries in the sessions. Grades are letters, with A worth 4 grade points, B 3 grade points, etc. Get rid of that crumby Boss CS-2 or CS-3 and build this. The RSA scheme uses a slightly more complicated function. For our encryption exponent e, we could choose the prime number 3 because it's less. A CS course on algorithms or cryptography may well show you some of the more. We see that your boss frequently needs us to write functions that take a list of numbers. CS to unveil curriculum reform team 2 hours ago; Judge Philip Tunoi at the. Ipoa probes alleged police brutality 3 hours ago.Morrison's digital boss exits after supermarket chain bets the farm on, er, digital. The schematic diagram of Boss SD-1 Super Overdrive guitar pedal. There are 3 silicon diodes in the negative feedback path of the op-amp. Two diodes are in one direction and only one.Digital credential is signed by the issuer with a digital signature scheme. I would really like to build a Boss CS-3 clone with a bunch of Mods I. the practical run-down of what's involved in the existing bypass scheme. The Kenya Railways Staff Retirement Benefits Scheme (KRSRBS) has cleared a Sh400. Months of negotiations on the so-called 'three strikes' scheme have come to naught. The story Village Roadshow boss Graham Burke admits 'three strikes' scheme may have been a mistake.This fits with my color scheme in my living room 3. take me on a bike ride. I had a DOD Grunge and a Boss Metal Zone with an 25 watt SS Epiphone. Everquest Quest Information for Brendaleen's Scheme. These tasks have individual 3-hour lockout timers (timer gained upon completion). The boss at the end now hits my 105 rogue (AC 11570 max aa) for 20,755 max. trash. Since he hit on avg.Reload to refresh your session. Reload to refresh your session. Peaking transients will be smoother, making the signal to appear lower in volume. However, the amplifying of the lower frequencies, will make the overall volume sound more consistent and fatter and therefore, make it stand out more in a mix, with more mid range and sustain. The sustain is basically one control for all the controls you have on your studio unit, while the volume can be used to compensate or boost. His first unit was a mid 70s MXR (scrip logo) DynaComp. The pedal seems to have been placed somewhere in the middle of his effects chain.The pedals were now placed first in the chain. Using compression throughout the set and setting the amount of compression high, allow him to use less gain from his overdrive and distortion pedals and get a more focused and cutting tone, emphasising on the mid range.Compressors based around a transistor circuit, like the DynaComp, are often favoured by finger pickers, for their fast and aggressive compression. There are also FET and tube units although these are rare among pedals. You want to compress the clean signal from your pickups into the gain pedals for an even tone. This also allow you to use less gain, which again means less noise and feedback. A compressor may not be as exciting or instantly gratifying as a distortion or delay but knowing how and when to use compression can be the difference between a dull and awesome tone. A thin and mids scooped tone can have a hard time cutting through that mix but adding a bit of compression will make the tone fatter and reduce those highs for more mid range. Try a compressor in front of your Big Muff and hear how those harsh transients sound smoother and the low end gets more focused. However, and as mentioned above, a compressor is essentially a gain pedal, so when you add that on top of a cranked amp or a second or third gain pedal, like an overdrive or distortion, you get a lot of gain and it will be noisy. If needed, turn down the gain on your overdrives and distortions or roll down the sustain on the compressor. Please note that the pedals may sound and behave differently on your setup. All scores are purely subjective. The CS2 is transparent, warm and fairly mild, which means that you can dial in pretty high settings without getting any nasty pops or too much squeeze. In addition to the usual volume and sustain controls, a third control, attack, allow you to dial in how fast you want the compressor to kick in. Some might find this to be just a bit too gentle but it goes especially well with hotter pickups. The CS3 also got a slightly more aggressive compression, which makes it great for those twangy Telecaster tones. A fourth control, Tone, allows you to cut or boost the top end after compression. Look out for the many mods out there for a warmer and smoother tone. In my opinion, there are other, better sounding clones out there. Featured on countless recordings, this pedal is favoured by finger picking Tele playing country artists in particular for its super fast and aggressive attack.BAUGHERS.COM/ckfinder/userfiles/files/compaq-presario-7000-manual.pdf Some might find it a bit too overwhelming, especially with humbuckers, but it goes really well with vintage style, low output single coils and also with Big Muffs, for a bit of high end roll off and tightening of the low end.Compared to an optical model, the Dyna Comp has a more noticeable compression, which is particularly suitable for single coils and clean tones, although it works nicely in combination with dirtier pedals as well. An excellent alternative, with all the mojo and tone and you got a led, true bypass and power jack.The R-Comp captures the tone perfectly, with a sweet twang and super smooth sustain. It also got a considerable output, allowing you to boost your gain pedals or the front end of a tube amp.It has a super transparent tone, with a smooth musical compression. The Iron Fist has three controls for compression, allowing you to fine tune the effect for specific tones and pickups. See my full review of the Iron Fist here. Available in different shapes and sizes, obviously with different features, the Cali76 double as a compressor and pre-amp for recording. It provides anything from smooth subtle compression to swqueezed twang. Super silent and extremely dynamic. Sonically this one sits between a PC-2A and Dynacomp. David Gilmour swapped between a Slide Rig Compact Deluxe and Cali76 Compact in his Rattle That Lock touring rig. Like the two mentioned, the Pulp N Peel can be used both as a pedalboard unit and as a pre-amp for recording. It even feature an XLR output. What I like about the Pulp, is the blend and EQ controls. The blend allow you to finely tune the amount of compression and direct signal, while the EQ restore your tone depending on how much compression you add. A cool feature is also the dirt switch that simulate, very well, the effect you get when you drive a tube compression into overdrive. See my review of the Pulp N Peel Here. In addition to a compressor and volume control, the Compulator also feature a trim pot for adjusting the overall gain. Great for cleans and milder overdrive in particular but really one that you want to leave on most of the time. Super transparent tone, smooth musical compression and a full array of controls, makes this possibly the ultimate pedal compressor for guitar and bass. A featured tone control, allow some fine tuning of the top end after compression and a 12AU7 tube ensure a warm tone and tons of headroom. Works equally well with cleans and overdrive and fuzz. This is something you want to leave on all the time. See my full review of the Optivalve here. Whether you want to add body to your cleans or smooth transients and add sustain to your dirt, this is something you definitely want to leave on for all your tones. Like its studio counterpart the PC-2A offer a simplistic design, with two controls for peak reduction (compression) and volume as well as a unique micro tube for that amp-like tone. See my full review of the PC-2A Compressor here. Transparent tone, musical dynamics and, like the original, an onboard EQ allowing you to fine tune the tone after the compression. Works equally well with single coils and humbuckers, clean tones and gain. I use boss katana 100 amp, fender MIM. They’re very similar, with more or less the same features. I often use the Pulp. Should the signal go, guitar, dynacomp, noise reducer, in loop distortions etc. Or Guitar, noise reducer, in loop dynacomp distortions etc.Some use the NS for certain noisy pedals but you can run the whole rig through it too. Personally I like to keep the rig as open as possible and maybe just gate the pedals that are hard to control. The problem with gating is that you often loose a bit of sustain. What do you think about it. Is it a close match to optical compressors or not. Im mostly single-coiler:) It’s basically a mix up between the Dynacomp and the old Ross. Very transaprent and easy to use but not as smooth and subtle as an optical unit. I think the most important pedal for slide is a good compressor to get proper sustain and even output. What is the benefit of using 2 compressors at the same time, as David did a few times in the 80’s and 90’s? I understand that the result is different from simply using more compression and that slide players use this technique frequently. David used 2 or 3 compressors in Time (Pulse version). Some compressors made by Origin Effects use double compression. What’s the deal? How to use it? Heavy compression into ligth compression. Light compression into Heavy compression. Thanks in advance. You use the character of one effect with another. Using two compressors will allow you to both have two different types of compression, say a transistor and optical compressor, but also to finely tune the threshold, attack, release etc. In most cases, one will be more than enough, while certain effects, like the intro on Time or slides, can benefit from more compression for added sustain and attack. The MXR Dyna Comp Mini cuts off the treble left. Compressor with tone control solve my problem? I come to you today to ask which of these compressors would work on my boss katana 50 with a dark side pedal. I manage to get a great tone but lack a bit of sustain. Also which position should I have it on. Thanks again! Depends on what sort of compression you need. Subtle studio-like compression or, hard squeeze. For the Katana, being a solid state amp, I think I’d go for something subtle, like the CS3, Effectrode or Yellow Comp. What do you think of the EHX Tone Corset. Sorry for my English but I am French hoping you will understand me. It can definitely do the job and the blend function allow you dial in just the right amount. I have a Les Paul with Seymour Duncan Antiquities and I’m going for a David Gilmour-type sound, with a bit of Billy Gibbons mixed in too. I know the Keeley Compressor Plus has a humbucker mode so I’m leaning that way. My question is I have a Keeley Dark Side and I don’t know if the Keeley Compressor plus should go in front of the Dark Side or after. Seems like the fuzz on the Dark Side sounds best right in front of the chain. Thanks! Love your site. That will level the signal from your guitar into the Dark Side. Be careful with using too much compression with fuzz. Personally I don’t use compression with fuzz because it often kills the harmonics and dynamics of the effect. Now I just have to decide between the Keeley or the EarthQuaker The Warden. And before overdrive. I’m using the buffalo fx TD-X and I’ve just got 5 pedals including the yellow comp and the EMG dg20’s. I’ve been using the G system for years so it’s the first time building a pedal board.Keep in mind that compression, perhaps above any other pedal, should be set to match your pickups, amp, pedals and not least playing technique. If the compressor doesn’t have input trim, what pedal upstream of the compressor do you recommend to be a transparent one simply to deal with this issue. Basically a pedal that compensates for the pickup output so one wouldn’t have to change the compressor variables. Thanks. I guess either combining two compressors or a booster. You recommend Effectrode PC-2A and optical. CS-2 is simply impossible to get. And what do you think about Electro Harmonix Black Finger. Or maybe YellowComp is better? (is cheap). For home use on LH20H, Celestion v 30. Thank you for your reply. Radek I’ve described different models and different types of compression in the guide above. I am going to buy a new compressor. I have choosen Mooer yellowcomp and MXR Dyna Comp (box logo). Which one does a better job for gilmour tones? (pink floyd era) The price is not matter. I like them both you can’t really compare them. Probably among the best if not the best. Has also Blend knob. I’ve been looking to get a proper compressor pedal but unsure if the current MXR will fit the bill I’ve been experimenting with a dynacomp and noticed that the conventional wisdom of putting it first causes my overdrives to have greatly varied volumes when I stack them and that compensating that result by adjusting the gains and levels on them just cause them to sound the same as one another. However, when I place the dynacomp at the end of my chain, my overdrives behave as they should and the compression evens everything out. I’ve seen some people say that this in not an optimal placement for a comp because it will increase the noise floor substantially but I did not experience more noticeable noise than when I had it before my drives. Am I missing something. I know you say that David has placed his at varying points in his chain throughout the years and was hoping you could shed a little more light into that line of thinking. I’m not trying to nail David’s tones by the way, but would like a generic approximation of his sound. A Gilmorish tone if you will haha. I’m using a Carl Martin Plexitone and a tube screamer as drives into a 1987x set as clean as it will go. I use the TS with the level set high and the drive all the way down, only to drive the low gain setting on the plexitone pedal a little harder. My thought is that using a comp would make my use of the TS redundant. I also have a block phase 90, a Lex and El Capistan a Fultone Supatrem and a clinch fx ep pre that I use here and there as well. I’ve been putting the phaser pre distortion as well. Thanks for any advice you can give. And your new album is fantastic!!! The “rule” is to place compressors first. The reason is that you want to compress the direct signal from your guitar to get an even signal into the pedals or amp. But, there are no rules when it comes to tone. Whatever works for you. There might be a reason why you feel that the compressor should be last. Perhaps your gain pedals needs to be tweaked to match the compressor. Perhaps you don’t need compression on certain gain tones. I don’t know but trust your ears and arrange your pedal board according to what you think is best. I also place it at the end of my chain when I use it. I find it is more versatile there for me, but everyone is different. Incredible pedal. As far as I can tell, it’s bone stock and was under the understanding that even the new ones are still mechanical bypass? Thanks you very much. It’s not like a phaser or distortion. A compressor is that tool you use to enhance what’s ever needed. I’d start with a slight volume boost and a fairly high compression setting to get the rights squeeze. Quick Question: I already own a CS2, but I have been informed I should also get a DynaComp additionally to get a genuine Gilmour sound; to me it would be overkill, no? Obviously, the end result depends on your guitar, picups, amp etc etc but there is a distinct difference between the CS2 and Dynacomp as I’ve tried to explain in this guide. The CS2 is much more subtle, similar to an optical unit. The Dynacomp is perhaps more transparent but compress harder, which is why it’s ofte preferred by finger pickers. You can easily use one and get the tones you need but I like the Dynacomp for the late 70s and early 80s stuff in particular. I have the mooer yellow comp. Nothing wrong with it, but I would like a bit more “spank and squash” to my clean tone (looking for shine on cleans). Anyone tried the comp from ALH effects.Sounds really good! Functional with “clean boost”, and “light drive” as well. Is this because it is less bright in comparison with the CS 2 and CS 3? Doesn’t it work when trying to achieve a gilmourish tone? Thanks! That would make a very long list:) The CS-1 is fully capable of covering Gilmour’s tones. The blend knob is a fantastic feature and its very easy to dial in. I would like to buy the JHS Pulp’n Peel, but it is very expensive in Brazil.