boss cs-2 user manual

1 post / 0 new
boss cs-2 user manual

boss cs-2 user manual

LINK 1 ENTER SITE >>> Download PDF
LINK 2 ENTER SITE >>> Download PDF

File Name:boss cs-2 user manual.pdf

Size: 1265 KB

Type: PDF, ePub, eBook

Category: Book

Uploaded: 19 May 2019, 12:19 PM

Rating: 4.6/5 from 750 votes.


Last checked: 14 Minutes ago!

In order to read or download boss cs-2 user manual ebook, you need to create a FREE account.

Download Now!

eBook includes PDF, ePub and Kindle version

✔ Register a free 1 month Trial Account.

✔ Download as many books as you like (Personal use)

✔ Cancel the membership at any time if not satisfied.

✔ Join Over 80000 Happy Readers

boss cs-2 user 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. If this guide is distributed with software that includes an end user agreement, this guide, 24 May 2005 Photoshop CS2 also includes loads of new creative tools, such as. The Adobe Photoshop CS2 User Guide, which contains most of the View and Download ADOBE PHOTOSHOP CS2 user manual online. PHOTOSHOP CS2 Software pdf manual download.Reload to refresh your session. Reload to refresh your session. 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. The CS-2 performs compression and expansion at high speeds, depending upon the input signal, which permits a faster response to any input and thus eliminates the volume reduction that normally occurs during the attack, as well as the weakening and instability of the sound. This, in turn, improves the sustaining effect of the sound. In addition, the wider range of control of the attack time allows each note to be fully and clearly produced, even with fast moving phrases. On the other hand, long and attractive tones can be created for slow-moving phrases. The CS-2 also features an input impedance of 1 MOhm which allows users to take full advantage of their guitar's unique characteristics. This sound can be further enhanced by adding a chorus effect pedal. Find out what you can do.

  • boss cs-2 user manual, boss ns-2 users manual, boss cs-2 user manual pdf, boss cs-2 user manual download, boss cs-2 user manual free, boss cs-2 user manual 2017.

Please do not offer the downloaded file for sell only use it for personal usage. Looking for other manual? For this no need registration. May be help you to repair. You could suffer a fatal electrical shock. Instead, contact your nearest service center. Note! To open downloaded files you need acrobat reader or similar pdf reader program. In addition, Also some files are djvu so you need djvu viewer to open them. These free programs can be found on this page: needed progs If you use opera you have to disable opera turbo function to download file. If you cannot download this file, try it with CHROME or FIREFOX browser. Translate this page: Relevant AUDIO forum topics: Melodia, M-10 athangolasa Sziasztok. Ugyan nem HI-FI, de radio. Nos, a gatyaban mar benne van, szepen mukodik, es az OIRT norman is jon egy ado. (Skalahurozas, beragadt tengelyek, csuszkak, potik javitasa, elkotesek javitasa utan allt helyre.) Arra gondoltam, hogy egy 27Mhz-es keverovel oldom meg a kerdest. Annak idejen sima ugy volt, de az igazsag az, hogy azok nem csoves gepek voltak. Egy TO 42-vel felepitett keverovel, aztan egy autoradiohoz hasznalt keverovel probalkoztam, de semmi eredmeny. Tudna valaki segiteni. A fent emlitett keszuleket ugy masfel hete kaptam kezhez,azzal a hibaleirassal hogy be se kapcsol.Gyorsan ramertem,Varok barmilyen otletet,javaslatot! Koszonom! Udv.Sziasztok! Asztali CD-lejatszohoz kernek segitseget (otletet). Olvassa a lemezt, de nincs hangja sem a kimeneti aljzatrol, sem a fulhallgatoban. Illetve valami megis, de ha mertekegyseget rendelnek hozza, talan csak tized millivoltban lehetne kifejezni a jel nagysagat, mintha allando nemitasban lenne. Elore is koszonom, tovabbi szep estet Mindenkinek. Orion HS280 hangvalto bekotese Szervusztok. Kerdezem, hogy a csatolt abran (280-as felso abrak) az LB sugarzohoz tartozo elko bekotese melyik abran helyes. Az eredeti panelon az LB1031-hez tartozo elko ugy van szitazva, polarizalva es beultetve ahogy a 4Ohmos valtozat rajzan lathato. Similar manuals: You can write in English language into the forum (not only in Hungarian). Unfortunately, I was finally able to get the CS3 owners manual, and it says: At it's clockwise position, the attack sound is retained, in each note even in fast picking, creating drive sound. At it's clockwise position, the attack sound is retained, in each note even in fast picking, creating drive sound. Try setting it a 50 to begin with. I'm not really a country player but being from North Dakota you have to have some country chops at the ready in case of emergency or when I do fill-ins with bands that play some of that stuff. I've found that the attack knob is very interactive with the sustain knob, the attack at around noon or one o'clock works well for compressing overdriven leads for me. I'm sure this varies with each player's rig and style. Good luck to you with your CS-3, you'll surely find what you need. Paste as plain text instead Display as a link instead Clear editor Upload or insert images from URL. 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. 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.AYBAR-GALLERY.COM/userfiles/files/canon-ipf5000-manual.pdf 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 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. In fact, few brands are sold here for a reasonable price and EHX and TC are the most affordable. There are no stores where I can test the products in my city. If you have any experience with compressors of these brands I would be happy to hear your opinion. You do a great job with the site. Congratulations and thank you. More subtle, responsive and less noise. But, the Tone Corset is very good too and I don’t think you can wrong with it. That way, I can use the guitar’s volume knob to control the gain, without affecting the overall volume. Obviously, with the four knobs you got a very versatile compressor. But to my ears it is quite subtle and I’m not sure how to dial it in. Do you have any settings you can recommend as a starting point? What sort of amp do you use. What’s its settings. What pickups? Other pedals? A compressor is a tool you use to further shape your tone based on what gear you have and what tones you need. A good start would probably be volume around unity, attack around noon and the sustain somehwere between 10-12 o’clock.It could be a good one for Gilmour Tone? Any idea on what is wrong and how to fix it ? Thanks P. Too high compression settings will squeeze the signal too much and you’ll lose the high mids and top frequencies. Now, I wanted some advice on the next pedal I want to buy. I lack of some sort of boost in my clean tones and I don’t know what to get. Currently I have a Keeley Dark Side, Boss DS-1 and a Mooer Repeater. I’m not sure if I should buy a compressor like Mini Dyna Comp or an OD such as Soul Food or something like that (I’m kind of on a budget). I want to use it into my Dark Side as well to boost the fuzz. Any orientation is very much appreciated. What sort of amp do you use. See this feature for some tips on choosing the right overdrive for different types of amps. Im currently using a Line6 Spider IV but I’m thinking about buying a Katana 100. I mainly play at home at bedroom volumes so I don’t want to spend too much on a valve amp that I can’t enjoy at full volume. I tried a Fender Bassbreaker 007 but I didn’t quite like the Dark Side’s fuzz on it. It’s working really good for the clean boosts, boost on the fuzz and as well for some crunch sounds with the DS-1 on songs like Have a Cigar or Pigs. Being fairly new to electric guitar, I am grateful for the guidance that your website provides. It really helped me to find my way through the overwhelming amount of factors and equipment units that affect tone. I have a question regarding the PC-2A compressor (I purchased one, and am very happy with it). You mentioned that by maxing the gain while reducing the peak reduction to zero, the PC-2A effectively functions as a booster. I wonder whether in that mode the PC-2A functions fundamentally different from the Effectrode Fire Bottle booster. What do you think? Did you ever make such a comparison. Does it make sense to have both in a rig? Thanks for your kind words. Glad you enjoy the site:) Both pedals are designed as a pre-amp capable of driving the front end of your amp. The PC-2A is a compressor that will compressor your tone depending on how high your set the peak reduction. The Fire Bootle is more of a tube amp pre-amp, with different tone options simulating that Fender tone. I guess they’re somewhat overlapping but I think they’re to two very different pedals. There is a demo on youtube (though not the best for a Gilmour test), gotta love the graphics on top of the sound. If I would like to increase sustain, should I look for an other compressor or the Diamond Comp is OK ? Close to David’s Power Boost and Tube Driver tones. The Bass Big Muff is very cloe to the Green Russian so it might be a bit redundant to swap. For the Fender amp I’d rather check out other, perhaps more versatile pedals. Check out this feature for some tips on choosing the right pedals for different amps. This will probably help with the sustain as well. I have read wonderful reviews about the Green Russian (including yours) and not so wonderful about the Nano Bass. So, I thought I could’ve made a bad purchase. The main reason wanting to change Big Muff is that Nano Bass is difficult to tame and somehow too harsh and agresive. Maybe I missed something, but to me it is just theorical and does not really help making a decision acquaring one pedal instead of another. It can but then the amp, guitar and other pedals needs to be set up accordingly. You should be able to get the sustain you need with the right amp settings. A compressor is a tool that should be used with care and to enhance your tone. It won’t fix problems and sustain depends so much on the amp, pickups, what pedals you use, volume etc. All of the compressors I’ve listed here will work nicely. The Green Russian is closer to the original 90s models but the Bass Muff is right up there and I think that the reason you find it harsh is that Fender amps and Muffs rarely go well together. At least not for David’s smooth voilin-like tones. This is explained in the feature you’re refering to and as much as I understand that it’s very theoretical, it’s really all I can say. I’m sure you won’t find the Green Russian much more different but a pedal like a RAT or OCD might work much better on your setup and probably give you more sustain as well. I pluged my guitar direct to the amp (without pedalboard) and wow, higher output, rich tones, tone knobs very noticeable and sustain back again. Checked my pedalboard and found a weird patch cable. Just a tiny ground wire not properly soldered and isolated (I did the soldering), touched the live tip. It seems the “shortcircuit” was not big enough to provoque a clear noise or malfunction, but a big tone headache !!! I love back again my Diamond Compressor, EHX nano Bass Big Muff, etc AF-9, VOX mod. V847 ? Which do you prefer? I used the Vox wah for years and I liked it very much. Haven’t tried the other two. For a single coil guitar, Xotic Compressor or MXR mini dyna comp? Gilmourish has been a true companion lately as I am setting up my rig based on Gilmour tones as an inspiration. I must admit that this is the topic where I struggle the most. I have a lot of the reviews, comments, etc. How important it is to have a blend control (like the Cali76). I love the sound of optical compressors (PC-2A and Gurus) but none have it, and I am really looking forward to getting one of them. I have been experimenting with the Exotic SP and the Hypergravity which both have a blend control and it sounds much better with it engaged. What is your take on that Bjorn? But in any case, you shouldn’t use compression unless your tones needs it. Unfortunately didn’t know about your website until after I bought it and I didn’t know there were other versions of the circuit, so I am going to sell it and buy either the script logo or ’74 reissue (is the extra for the reissue worth it?). All this seems irrelevant, however, I was wondering if there any any significant differences between the modern DynaComp, the script logo, or the reissue like there are the Phase 90? The script Dynacomp is smoother and perhaps less aggressive than the block model. Not as big difference as with the Phase 90 but I definitely recommend the script model. I’ve been considering the Dyna Comp mini but also came across the Orange Amps Kongpressor. It has a bit more tweakability but I’m not sure if it will be in the right sonic territory. Any thoughts on the Orange? Thanks! I’ve tried to explain the different types of compression in this feature so in addition to that I think my best advice would be to try to figure out why you need a compressor and what sort of compression do you need. Do you need a transparent one or one that can boost or squeeze really hard. Do you need full tweakability or just the simple two-knob configuration? It’s an OTA Compressor inspired by the 1176. I’ve been on the fence between that and the JHS Pulp n Peel. Looking forward to more of your Gilmour on a budget videos, too. Are you going to build a full pedalboard of pedals under 100? I haven’t tried the Deep Six so I can’t really tell.Whether it’s the muffs, the fuzz faces, the G2s or even the Tube Drivers, does David use compressor pedals with his dirty boxes. And if so, is he doing the classic compressor first thing, or is he putting the compressors after the dirt boxes. Of course, with a fuzz face, nothing can go first, so the question is moot in that situation. Depends on the tone I guess although the combination has been more frequent in more recent years. Adding a bit of compression to a Muff rolls off the unpleasant top end. Adding compression to overdrive adds to the sustain and attack.I’m new to this site and happy I found it. Also, being new to using effects pedals, I feel like the first days of school all over again, I have a Pigtronix Philosophers Tone Micro Compressor (Optical with a blend control) first on my board just before my MojoMojo Overdrive and Phaser. Have you any experience with this pedal or best settings suggestions. What would be the best settings for “Comfortably Numb?” TY in Advance. BTW I just added a Catlinbread Echorec pedal and what fun I’m having with that one! Some like to have their’s on all the time but if you do that it should be based on the fact that you really need it. Compressors used the wrong way can do more harm than good. A transparent compressor with moderate settings is often one you want to leave on whenever you use single coils to balance the signal and beef up the pickups. Hard to suggest settings because a compressors should always be set based on amp, amp settings, pickups, playing technique, what pedals you used with it, taste etc.