JHS humorously describes the Whitey Tighty as ...our take on the classic effect that no one may ever know is on, but when it’s off you feel like your pants are down.
The Whitey Tighty is a transparent-sounding simple compressor pedal that goes from barely there to heavily squished with just a few knobs to fiddle with. This minimal design also helps save up precious pedalboard real estate. A blend knob helps balance out the compressed signal and your dry signal, enabling more control over your clean tone.
The main strengths of the Whitey Tightey are its simplicity and size. The pedal sounds quieter than most compressors and feels natural because of the blend knob. I also praise the attack for not being too harsh or plinky while retaining some spank on chicken picking and funk.
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Unfortunately, you will be paying a premium for the respected JHS brand. There are models out there that are cheaper and comparable, but if you want white briefs on your pedalboard, you'll have to shell out a bit more.
Also, the micro-compact design lends itself more to ground noise. This is due to components being closer together, it's just a limitation of physics and this shell design. It's a bit fragile when compared to the more tank-like pedals out there. But show some love to the Whitey Tightey Mini and it shouldn't be too much of a problem.
The JHS Whitey Tighty is a fun and welcome addition to any pedalboard. It is a good always on type of pedal. You'll almost feel naked when this pedal is bypassed; adding to the charm and befitting its underwear-inspired name.
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The Wampler Mini Ego is a downsized version of the Wampler Ego Compressor pedal, used to great success by country-guitar hero Brad Paisley.
It actually has all of the controls found on its bigger brother. But it ditches variable controls for the “Tone” and “Attack” knobs in favor of two on/off switches. And it also features the same build quality and good parameter adjustments as other Wampler pedals.
The Mini Ego has a very transparent sound, similar to its bigger sibling, but with less complex controls. I love its compact size, freeing up precious pedalboard real estate for other effects. Ease of use I also commend, while having extra switches allow for a bit more control that's not usually available in pedals of its size.
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A flaw with this pedal is that the on/off tone control likely isn’t going to work well with every guitar's tone. Besides it's unreasonable to expect it to have in depth controls like expensive compressor pedals. It is an issue that’s avoided with the variable tone control you’ll find on the larger version of the pedal.
Despite the more minimal control scheme versus its bigger sibling, the Mini Ego retains a lot of the character and response that made the original well-loved. We recommend this pedal to those looking for a great compressor pedal that won’t take up too much space on their pedalboard.
The CP-1X pedal takes a modern approach to compression. It comes equipped with a multiband processor that analyzes your guitar signal and applies the effect as needed. This means that the pedal adapts to different frequencies, volumes, and playing nuances. This way, it provides just the right level of compression for each situation.
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Powering its high-tech design, Boss equipped this pedal with 18-volt internal electronics. This also allows for higher-than-usual headroom. Another noteworthy feature is its gain reduction indicator which is prominent and very easy to spot.
Pristine, articulate, and smooth, are adjectives I'd use to describe this pedal's sound. I'm pleased with how it evens out the dynamics of my playing - making me sound more polished. It works well with different guitar tones. But its transparency is most impressive when used for clean to lightly overdriven tones. Also particularly noteworthy is its easy-to-use layout impressing even Music Radar, which gave this pedal a 5 star rating.
In the studio, I use multiband compressors to fine-tune tracks by only compressing specific frequencies. Given this functionality of multiband compressors, I would've liked a bit more control over which frequencies I'd like to compress.
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Nevertheless, Boss chooses to do all the thinking for you in terms of tone and frequencies, providing you with a very pleasing sound.
It is housed in the ever-reliable Boss enclosure. So it brings studio-quality transparent compression to your pedalboard, consistently and reliably. If modern transparency and reliability are important to you, then definitely check out the Boss CP-1X.
The Wampler Ego V2 is similar to the Mini Ego, with the main difference being that the “control” and “tone” are variable knobs instead of on/off switches. Another important difference is that the Wampler Ego can run off of batteries in addition to a DC adapter. On the other hand, the Mini Ego exclusively runs off of an adapter.
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Wampler’s description of the Ego’s tone control leaves much to be speculated on, but from the description in the manual, it seems to be a presence control. Presence is a parameter that controls upper-midrange frequencies. Its purpose is to make an instrument more “present” in a mix that includes instruments in the same frequency range. For example, if there are two guitarists in your band the presence knob will help you be heard over the other guitar player.
I commend it for adding clarity and sparkle, especially for my Tele-style guitar. It also earns my appreciation for the flexibility of its controls.
Brian Wampler's designs have easily been the most studied by modern pedal builders. The Ego V2 ticks a lot of the right boxes with its approach in flexibility and adding a lot of clarity and sparkle to your tone.
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The Cali76 Stacked Edition takes compression effect to the next level literally. It stacks two layers of FET compressors in one stompbox. This is meant to appeal to those who utilize their compressor pedal as a tone-shaping tool.
The two compressors run in series. They have independent attack/release controls for tweaking dynamic response. This feature is not something you'll find in conventional compressors. Aside from its dual compressor design, it has similar features to the Cali76 Compact Deluxe. It even has a Dry knob for blending in your dry signal, along with input and output gain controls.
Given its price, it's understandable the main target market of this unit is professional musicians. It is meant to be incorporated with other expensive (but very good) equipment. And even though it's expensive, I'm impressed with its incredible control over clarity and dynamics. It is a very advantageous investment towards getting consistently good tone.
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This pedal may be beyond the average price that most guitarists are willing to pay for a compressor pedal. Thankfully, I deem it worthy. And while it gives you two compressors, it loses some of the parameter fine-tuning capabilities of the Origin Effects Cali76 Compact Deluxe.
If one compressor is not enough, and you have the money to spend, then the Origin Effects Cali76 Stacked Edition is highly recommended. It is the definitive pedal for those who desire absolute premium, studio-quality compression.
Lately, while getting back into electric guitar after a long hiatus I was able to purchase a bunch of assorted guitar pedals from a friend who wanted to focus on woodworking. Among the sundry of pedals was a Boss CS-3 Compression Sustainer. Now, I never considered incorporating a compressor into my live setup since it can be a subtle effect that most non-musicians wouldn't even hear.
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The CS-3 is the third iteration of the highly popular Compression Sustainer pedals from Boss. Released in 1986 as a minor update to the CS-2, the CS-3 adds a tone knob and uses a different VCA chip.
As I was setting up the CS-3 to do some tests, I plugged it into my regular 1Spot style power supply. To my dismay, the pedal seemed to malfunction, the LED power indicator was dim and the sound was unpleasingly fizzy. I was worried the pedal was broken!
In a last-ditch effort and after a lot of fiddling, I decided to try to power it with my TU-3… it worked like a charm! This harkens back to my review of the TU-3 and how I didn't see its usefulness as a power supply… well this is one unexpected reason to power my pedals through it.
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I don't know the electrical engineering reason why it works with the TU-3 instead of just being powered straight from the daisy chain power adaptor, if anyone knows please let me know in the comment section below.
On one hand it is a good affordable compressor pedal that does the job in a simple manner. It provides compression and sustain making things sound just a tad bolder. I would describe it as adding MSG to my tone. I can see myself using this as a boost in lieu of an overdrive pedal. This is a fantastic pedal for those who want to color their sound.
On the other hand, it makes me struggle with noise that without this pedal would be soft enough to not worry about. With my simple philosophy of not making things harder
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