boss compression sustainer cs-2 manual

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boss compression sustainer cs-2 manual

boss compression sustainer cs-2 manual

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boss compression sustainer cs-2 manualCapable 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. Create 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. Points are worth a 1p discount for every point you redeem.We display the number of points available for a product on the product's page on our website. Normally we'll give you one point for every pound you spend, but watch out for double and triple points deals for even more savings! For Store opening times and COVID restrictions, please click here before you visit. So, it slightly boosts the volume of notes you pick softly and brings down the volume of notes you pick a bit harder. So, you end up with a much smoother sounding guitar tone. That dynamic range can be adjusted with the RATIO control on most compressors. At first anyway. Or if you plugged into a fuzz, you immediately be overwhelmed by woolly distortion. However, compression might need more of a trained ear because it’s not a sound effect, but rather a necessary adjustment to the signal. If you set it high, it will catch the peaks (any harsh frequencies or jumps in volume). If you set it low, it will compress just about everything that goes through it. Will set how much the signal that goes above the threshold is compressed by.

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For example: With a ratio of 2:1 for every 2 decibels of increased input gain it increases output by 1 decibel meaning you get nice big clean headroom. So, a fast attack would be good for country chicken-pickin’ because you want all your fast hybrid picked licks to be smooth and even. A slow attack can make the compressor sound more natural. You would adjust this for the same reasons as the attack. It’s worth experimenting with, but leaving a slightly longer tail of compression with a medium attack will give you a very natural sound. So more signal will force more compression. This method will soften the attack and release of the compressor meaning you won’t get any harsh compression artifacts in your signal. They emulate vacuum tubes in the circuit and are quite similar to how an analogue amp can emulate a valve amp (without the valves). They are regarded as very fast compressors and don’t colour the signal as much as other compressors can. A good example is the famous Universal Audio 1176. It can rapidly alter its gain level in response to different detectors analyzing the same signal. This is the one to go for if you want strict control over the signal and you can make it as fast and harsh or as gentle as possible. These are their direct quotes where they speak about the low noise floor and incredible sustain of their famous CS-3 compressor pedal. You can set it so you have natural dynamics, but very long, nearly limitless sustain which allows chords to ring out longer and notes in a solo to go on and on. You can run the attack and sustain controls wherever you feel sounds best. Then, roll the blend all the way down and slowly blend in that compressed signal to the sound you are looking for.It was so good in fact, that I have dedicated another blog post to his thoughts on compressors.But there are some vague guidelines that you should start with and logically, you would be better off putting the compressor first in your signal chain. Compressors will amplify any signal going through them (remember they push up the soft signal, and squash the loud) which means if you run any noisy pedals before your compressor, then that noise (it may be mains hum from the pedal, or noise from a poor power supply) will be made louder going into your amp. Not ideal for live use and definitely not ideal for studio! There are no single rule, so we would like to ask users to try to find their own best setting.’ So which one do I get. Well ultimately, that’s down to you. You have to experiment with them and decide on which one to get depending on how much control you want over your compressors. Don’t watch videos on how they sound. You have to feel how it affects your playing. Get into the store and try it out for yourself. 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. 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. When used for specific genres, they suit some players perfectly. Country musicians for example, who play those awesome chicken-pickin’ or bluegrass kind of licks discovered the benefits of using a stompbox compressor decades ago. The sound of a compressor working its charm over Nashville-inspired playing has become crucial to that specific kind of sound. And for a clean guitar tone with a bit of chorus and reverb, a compressor pedal will do sparkling, lush wonders. Our Beginner’s Guide to Compression article will give you a more detailed overview of compression, how it’s used and the different kinds of compressors. We highly recommend you check it out if you’re new to compression, or even if you just want to brush up on the basics. CS-3 Compression Sustainer Anyone familiar with BOSS’ long-running range of compressors will definitely be aware of the CS-3 Compression Sustainer pedal, a traditional VCA style compressor that has found a home on the pedalboard of many guitar players, including superstars such as David Gilmour, Bonnie Raitt and U2’s The Edge. The BOSS CS-3 is a core part of the BOSS lineup and is an excellent choice for players seeking a traditional compressor tone. Its classic compression circuitry delivers a pronounced attack, combined with smooth sustain, that all work together to even out the dynamic peaks and troughs of your picking. Not restricted to just guitar players, the CS-3 can be used on practically anything you’d like to plug into it. Bassists, keyboardists and synthesizer artists are some of the musicians who still cherish this small blue wonderbox. Electronic artists such as Aphex Twin and Legowelt for example, have also had great results with this classic stompbox. It sounds great on drum machines, synthesizers and other electronic music instruments, or even as an Auxiliary Send on a mixing board for parallel compression. For some musicians though, the audible tonality found within a classic compressor design is less than desirable.BARTONSTEEL.COM/tony/barton/ckfinder/userfiles/files/concept2-pm3-manual.pdf Much like different kinds of reverb types (Spring, Hall, Shimmer, etc.) not all kinds of compression are suitable for all musicians. If you like the notion of what a compressor pedal does for your guitar (like the sustain or the overall evening out of your notes and chords), but aren’t completely comfortable with the signature sound of traditional compressors such as the BOSS CS-3, then you might have been considering boost pedals, overdrives or even EQ pedals to achieve similar results. The CP-1X is a new type of compressor for guitar that aims to preserve the character of your instrument, delivering all the benefits of dynamic compression while eliminating the “squashed” sound of a traditional compressor. The CP-1X is unique in its design, as it completely reimagines a compression pedal from scratch. We mentioned earlier that the CS-3 is a pedal that nearly any musician can use. While this is also true for the CP-1X, it is fundamentally a pedal designed specifically for the guitar, and all the expressive qualities that go into playing the instrument. We’ll explain why in a moment, but first, we should give you some background on the pedal. In the quest for a more “transparent” sounding compressor pedal, some manufacturers in recent times have been releasing designs that incorporate a “blend” control, which allows the user to mix their dry, uncompressed guitar signal with the compressed signal. This is a simple workaround method to achieve results similar to the classic studio technique of “parallel compression”, which is often used as a way to compress drums. Sure, adding some dry signal back in will stop the pedal from colouring your tone too much, but of course, it also mitigates much of the actual compression effect itself. So, what if you want a compressor pedal that still does an effective job of dynamic compression, while maintaining your natural tone, as well as complimenting and (more importantly), understanding your playing. The BOSS CP-1X is an entirely new compression design that uses BOSS’ MDP technology. MDP or Multi-Dimensional Processing is a new innovation from BOSS that has been used in previous pedals such as the TE-2 Tera Echo, the MO-2 Multi Overtone, the DA-2 Adaptive Distortion and the “X” series of classic BOSS overdrives and distortions. Multi-Dimensional Processing (MDP) So how does MDP work. As it turns out, in a really cool way. MDP (and subsequently, the CP-1X) uses intelligent processing to analyse your guitar signal in multiple dimensions, as you play. It listens to each note you play and compresses each one differently, taking into account things like different strings, neck position, single notes, chords, arpeggios and more when deciding exactly how to act on each note. The CP-1X is even able to differentiate the fundamental note of your input waveform vs.Take a look at this diagram: The INPUT diagram shows an uncompressed waveform from a guitar. The blue wave shows the harmonic overtones that come flying off the string as you pick it, which rapidly decay over time. A CONVENTIONAL compressor looks at the entire spectrum of audio information and compresses all the audio at the same rate, in order to bring the total dynamic range into control. In order to bring the (blue) harmonic overtones into control, it has to heavily compress the entire signal, including the fundamental (orange) waveform. This manifests in the note attack, feeling like it is “sucked” away. In the example above, you can see that MDP reduces the harmonic overtones so that the overall volume is under control. In short, the BOSS CP-1X provides advanced dynamics control that never colours or muddies your tone. It’s like you’re plugging into multiple compressors in the one pedal which are doing different things to different frequencies, before blending them all together. Instead of simply “brickwall compressing” your signal, you’re allowing the CP-1X to do its work based on your playing, no matter how sensitive or aggressive your dynamics are. This might sound like the CP-1X is working on your tone. Hardly. In fact, the transparency of the CP-1X is incredible. You won’t hear it, but you’ll know it’s there because your guitar sound will become much more apparent. KEEP IT QUIET! The advanced compression delivered using MDP technology is only part of why the CP-1X is the world’s most advanced guitar compression pedal. A common sore point with compressors is that, by their very nature, they will add some noise to your signal during the “sustain” part of their operation. If you’re also using overdrive and distortion, the compressor can add extra noise, in some cases to unusable levels. This of course is combative with a noise suppressor like the BOSS NS-2, but if pedal real estate is a factor for you, then it can be difficult to keep your levels under control. The CP-1X factors this into its design by using a digital circuit for exceptional noise reduction. Combined with multiple interlocking parameters for intelligently adapting to every register and nuance of your playing, the clarity and preservation of tone that the CP-1X brings to your sound is unparalleled. Another nice trick that the CP-1X pulls is, despite running off a 9v battery or power supply, the internal voltage of the pedal is pumped up to 18v. This offers ample headroom for a clean, punchy sound that has enough capability to cleanly deal with guitars used more frequently today like seven and eight string instruments and acoustic-electrics. Essentially, whatever you play, then the CP-1X will work for you. It’s been described as “removing the blanket” off your guitar sound and works comfortably alongside and with your other stompboxes. If you’ve never used a compressor pedal before, then the CP-1X is a great place to start.BARSUGO.COM/ckfinder/userfiles/files/concept-user-manual.pdf If you already know the benefits of compression, then it’s certainly a pedal that’s worth checking out. Think of it as a refreshing new take on a classic effect. Classic compressors such as the CS-3 will (and should!) always be with us. What the BOSS CP-1X does is take a different approach to a similar goal, opening new doors for creative expression. Whichever you prefer, the choice is at your feet. The technology used in the CP-1X is identical to that used in BOSS’ BC-1X Bass Compressor. The BC-1X differs however, in that it is designed and voiced specifically for bass guitars, as opposed to the CP-1X, which is guitar focused. The BC-1X also sounds great on other instruments.Spanning the last four decades, As an author, he has written for publications such as Music In Action, Guitarist. The CS-2 uses a VCA (Voltage Controlled Amplifier) instead of the photocouplers used by the CS-1. The VCA’s speeds up the signal processing and makes the attack much faster compared to the CS-1. The Attack knob can however be used to control this. Even if chocolate chip is on your mind, our cookies make an important contribution to a great shopping experience. They help us to show you relevant offers, remember your settings to ease navigation on our website and alert us when the website is slow or unstable. You can view and manage further details and options here.Always with customised added value for musicians. Close Service Contact us Help Peak levels are limited while the quiet passages are raised, serving the assertiveness (especially clean tones), and generating a more balanced sound. At extreme settings, a significant extension of the sustain is possible - suitable if you want to play a solo with cleaner amplifier setting. The CS-3 is versatile adjustable, noteworthy is the tone control that can compensate for a loss of height with heavy compression. Standard Delivery Times ?79 Add to Basket 11 bought tc electronic HyperGravity Compressor ?85 7 bought tc electronic Forcefield Compressor ?31 5 bought Nux Mini Core SE Compressor ?26 4 bought Behringer CS400 ?22 Our most popular Compressor Pedals Of these, 212 customers have written no texts or given their feedback in another language. 4 97 Customers 97 customers have given this product a 4-star rating. Of these, 92 customers have written no texts or given their feedback in another language. 3 35 Customers 35 customers have given this product a 3-star rating. Of these, 35 customers have written no texts or given their feedback in another language. 2 15 Customers 15 customers have given this product a 2-star rating. Of these, 14 customers have written no texts or given their feedback in another language. 1 2 Customers 2 customers have given this product a one-star rating. It can go from subtle compression all the way to slamming limiter with the turn of a knob or two. I'm a session guitarist and constantly use the CS-3 in the studio for everything from clean country solos to rock rhythm and lead. With a minimal amount of adjustment, I can do anything I need with this pedal. The tone knob is a particularly good feature. When used correctly, it can make guitars pop out of the mix without sounding harsh. It can also help to thicken up a thin sounding guitar. Very useful indeed. Like all Boss pedals, it's very well built and should last a lifetime. The only issue I've ever had with a Boss pedal was when I used a bad power supply and fried a DD-3:-( Totally my fault!! I've used a lot of different brands of effect pedals in the past but I keep returning to Boss. I'm rarely disappointed by a Boss pedal (there are a few exceptions). A lot of the same players look down their noses at Boss pedals. I don't subscribe to this way of thinking at all. Some of the greatest and most revered tones in guitar history would not pass the true bypass test. A good guitar and amp and a handful of Boss pedals will get you as good a tone as you will ever need.Send report Total handling features sound quality Awesome compressor. Robin8397, 23.02.2015 A very simply designed and set up effect, and thus very easy to use. Level knob is essentially for your volume control. When rolled up high you can hear more high end frequencies and it gives a clicking sound that feels like you can hear the contact with the string. With the sustain knob on a low setting the pedal acts as a limiter, while rolling it up high increases sustain and the length the effect lasts for. When at a low value the pedal produces a crisper and cleaner sound, while it allows more Drive when rolled up high. Conclusion: Awesome compressor. Send report Total handling features sound quality Great addition Glenn007, 04.05.2020 Great for balancing your sound but also provides great sustain and picks up screams and harmonics really clearly. Send report Read all 143 reviews Rate product Standard Delivery Times. 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. 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.