NPD: Return of the Dyna Comp


With regards to Proteus' continuing influence.

Thanks to a whim on a lark on a special deal, I picked up an MXR DComp over the weekend. Actually, I've been been threatening to do this for a while, but it all came together at St John's Music on Saturday afternoon.

As Proteus can attest, my favored comp has been a Maxon CP9 Pro+ that I've had on my main board now for several years. I've been using it as a transparent studio comp, placing it at the end of my chain to control level and tame overactive dynamics. It works a charm and there is little danger it will ever be lifted out of position. Lately though, I've been thinking it might be nice to have a "character" piece to use on my small board in my practice room, and after reading some older threads on the subject decided to give the MXR another go. This time I opted for the basic non-modified non-vintage-tweaked standard model.

I must say, I've been very pleasantly surprised at this latest iteration of the war horse that is the Dyna Comp. I find it to be a great update to the original in that it's sound and function is a tad more modern sounding (hi-fi). The sensitivity dial works a treat and you can back off the attack/sustain envelope to a more usable level that is well suited to "always on" status. I find it complements my Tweed Fenders particularly well, both with my 335 and my Strat/Tele. FWIW, I don't feel it's as usable with my Gretsch CGent, the later having an already naturally compressed feel.

If you haven't tried the recent version and are in the market for an inexpensive classic that can both hug AND squeeze, check one out. I'm thoroughly enjoying rediscovering my chickin' pickin' chops and my funky rhythm chops, while serving up some new (and I dare say improved) compression tricks with this little red beauty. Prot, I'll never doubt you again...


But but but...I didn't recommend the Dyna Comp! I just said I had one I didn't turn off for about 20 years.

Once I did, I never went back. I'd understood the modern iteration is much improved, and I well believe it. I have no doubt it's a sonic treat, especially as you've been using a much more subtle squeezer heretofore.

At the moment my favorite OTA compressor is the Wampler Ego Mini. (NOT the full-sized one.)

And the comp I can't turn off since I got it a couple-few months ago is the FEA Opti-FET. It's crazy smooth, artifact-n-pump-free, and does some addictive tonal shaping. As a compressor, it can be truly transparent - other than smooth limiting overs and giving dynamically-sensitive shape to notes/chords - but tonally, it does the lift-and-clarify thing more than any other I've played through. A bit like a mastering tool. It's also exceptionally handsome.

Also, now that I understand you're using the Maxon at the end of the chain, as a final touch, it makes much more sense. That's a great use of that one, and I should have thought of it.


I have THREE Dynas! Two old, one very old. Loved what it did, but couldn't do much with something that keeps your level exactly the same all the time, until I put a volume pedal between it and the front of whichever amp I was using. Opened up all kinds of expressive things. Now it's always on, with both controls at 12 o'clock.


DaveH, I will give that a try

Protey, I was actually referring to some of your past posts that spoke of comps in general and how you liked different pedals for different colors. The written word man, powerful stuff. BTW, I won't blame you (or anyone else) for giving me excuses to try a new box to play with. I entered the 12 step program, but just can't seem to get past the first step.

In any case gentlemen, thanks for your responses, and yes I'm still enjoying this little red box...

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