One of the most popular compressors of all time, the Dyna Comp is the secret weapon on many stars' pedalboards. This box will produce that percussive, clicky sound on a clean guitar that you've heard on so many pop hits. It also adds smooth sustai...
Used on Blood Sugar Sex Magik, John used the Dyna Comp on the solo of "Mellowship Slinky in B Major" and for the intro of "Under The Bridge" and if you go on YouTube and look up "John Frusciante recording Mellowship slinky in B Major solo" you can see it by his right knee next to the time.more
At 0:25 in this video, Eric Johnson of [The G3 Jam](http://equipboard.com/band/the-g3-jam), [Electromagnets](http://equipboard.com/band/electromagnets), [Brazil](http://equipboard.com/band/brazil), [Alien Love Child](http://equipboard.com/band/alien-love-child), [G3](http://equipboard.com/band/g3), and [Archers of Loaf](http://equipboard.com/band/archers-of-loaf) shows us his pedal board containing a MXR M-102.more
Messina regularly answers the comments section. On question how he got the tone on "Loggins and Messina" recordings, he said : > Well, that is a long question... Here's a list of items you can sort through: 1956 Telecaster, 1957 Strat, black face twin and super reverb, a MXR Dyna Comp and MXR Phase 90 pedal, and a lot of trial and error.more
"The old MXR Dyna Comp was the first tool that I used for this. I think I got one very soon after it first appeared on the market. I always placed a volume pedal after it so that I could control the dynamics of what I heard, that way I could make the loud notes quiet and the quiet notes loud."more
Phillips states in this interview: "For effects, I use a Roland Dimension D; Strymon BlueSky reverb and Timeline delay; and T-Rex and Coopersonic overdrives, plus old faithfuls like the MXR Dyna Comp and Phase 100. I even have my old green Roland Chorus/Space Echo for occasional use."more
Ejstes and Fiske’s guitar parts were usually tracked directly into the “purple” workstation using a Line 6 POD-XT or a handful of pedals that included a ’60s Fuzz Face, an MXR Dyna Comp, a vintage CryBaby, and, most importantly, a late-’50s Klempt Echolette tape echo unit (which was used as a tube preamp even when the echo was bypassed). Several amps were also employed, including a vintage 50-watt Marshall with an 8x10 cab, a Vox AC30, and an ancient Hagstrom—all typically miked with a Sennheiser MD421. Ejstes played an Epiphone ES-335, and Fiske played a Fender Stratocaster assembled from early-’60s parts. One particularly interesting feedback effect was achieved on “Sluta Folja Eiter” by routing the guitar through a stereo hi-fi cab to get the almost headphone-like feedback.more
Easy to dial in with those two knobs. Besides that, a great pedal to make such as a booster and to have a longer sustain for your sound. Not to mention, this compressor is amazing to tame those wild fuzzes out there by gaining up the sensitivity knob. Lovely pedal
Say what you will of the Dyna Comp, it certainly can't be accused of not having enough compression; I've never had the sensitivity up beyond 1/2 o'clock, which is plenty heavy compression. Setting the output to a little above unity allows you to get a decent clean boost out of the pedal, and even with the sensitivity dialled way back, you get that satisfying pop of the note for all your country needs, and a sweet, natural sounding sustain. I use mine in front of a Soul Food and a Custom Badass '78, and the Dyna Comp gets a smooth crunch out of the Soul Food, and gives the C' Badass the sweet sustain the pedal somewhat lacks on its own. My one gripe is that the perfect compression setting for the higher strings/notes will really muddy the lower notes at times, although I imagine that's true of most compressors. Still, it's one of the cheaper compressors on the market, and I still highly recommend it!
The DynaComp is great because it makes me sound more polished with even volume in high end and low end. It stays on the majority of the time and reigns in the volume of my AC30 and drive
The single note runs or any other situation where you don't want a lot of attack to the notes, this compressor shines through. If you want more versatility, you would need another compressor on your board. Besides that, I have always thought that there should always be two compressors on the board to fulfill all the basic tone needs
I love the sustain on this pedal and the crispness and smooth character of it, if you want a clear tone get this bad boy definitely worth getting.
Having sold it's board-mate 1975 Phase 90 decades ago I'm glad to still have this one. I've been searching for a replacement to take this off my board for a few years now, still lookin'
I recently bumped into my block logo, 90s dynacomp while cleaning up my gear closet. I was looking for my SD1 and BF2 (not sure if I sold them) and found this gem instead. I was really into this pedal at a couple periods of my playing career. Great lead boost into a slightly dirty amp, the extra sustain allows you to play with a little less gain when using a strat and the midrange presence lift really helps cut a mic. Great into a clean fender for chiken pickin' Dare I add this to my board again? Maybe with analog chorus? How 80s of me!
But yeah, if you want classic guitar compression that's not studio grade and just does its thing? this is a great place to start. It colors your tone, but that's the point. Great in a dense band mix. They say the script logo is better but I could never hear a substantial difference. A grey Ross definitely sounds better without adding a bunch of features like booooo-teek versions. Set and forget squash that used to be one of the few pedals I couldn't do without in the recording studio. I am really inspired to plug this in again after replying to a compressor thread in the guitar forum! Everyone should have this or a boss compressor around. They are cheap enough.
I don´t have to much to say about this pedal but, that´s a compressor pedal that does this function very well. It keep´s the sustain very well and cant be used too on solos , like a gain booster ( without letting your sound dirty, giving you a lot of sustain and , a bit more of gain , when combined with fuzzes, distortions or overdrive pedals.