MXR_Dyna_Comp

MXR Dyna Comp

MXR Dyna Comp

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The MXR Dyna Comp is an effects unit, which is an electronic device that alters the sound of a musical instrument. This effects unit is produced by the MXR company intended for use with electric guitar. Made since the 1970s, the MXR Dyna Comp, which adds its own coloring to the tone, has become a frequently copied and widely used guitar effect, even a standard.

History

The MXR Dyna Comp was first produced in the 1970s and became "a Nashville standard".[1] It is frequently copied by other builders and hobbyists.[1] MXR also produces a 'vintage' Dyna Comp, with the 1970s "script" logo, and an updated version, the Super Comp, which has an "Attack" control that determines its "bite-/squash ratio".[1]

Description

The unit produces a dynamic range compression effect. It has two controls: "Output" controls the output level, and "Sensitivity" determines the amount of compression.[1]

Use

The compression effect helps to smooth out differences in volume between notes,[2] such as in quick runs played by chicken picking.[1] It also fattens up the sound, giving more body and sustain to lead guitar lines, and can be used as a booster.[1] Its "thickening" effect is especially appreciated in Nashville, where many country music guitar players who use Fender Telecasters use it to thicken the otherwise thin sound of the single-coil guitar; besides, the compressor's lessening of the initial attack "gives the effect of a pedal steel player working his volume pedal".[3]

The effect can be used by bass players as well.[4]

The MXR Dyna Comp is not considered tone-neutral; that is, it adds its specific coloring to the sound,[5] which is appreciated by many users.[6][7]

Notable users

References

  1. [1]
    Hunter, Dave (2004). Guitar effects pedals: the practical handbook. Hal Leonard. pp. 24, 89. ISBN 978-0-87930-806-3.
  2. [2]
    Bacon, Tony (1981). Rock hardware: the instruments, equipment, and technology of rock. Harmony. p. 124. ISBN 978-0-517-54520-1.
  3. [3]
    Ross, Michael (1998). Getting great guitar sounds: a non-technical approach to shaping your personal sound. Hal Leonard. p. 75. ISBN 978-0-7935-9140-4.
  4. [4]
    Sheehan, Billy (2004). Billy Sheehan: Advanced Bass, Book & DVD. Alfred Music. p. 7. ISBN 978-0-7390-3312-8.
  5. [5]
    Brown, Pete (January 2011). "New Standard in Stompbox Compression? The Effectrode PC-2A". Vintage Guitar. p. 138.
  6. [6]
    Gibson, Bill (2007). Instrument and Vocal Recording. Hal Leonard. p. 52. ISBN 978-1-4234-3049-0.
  7. [7]
    Savona, Anthony (2005). Console confessions: the great music producers in their own words. Hal Leonard. p. 237. ISBN 978-0-87930-860-5.
  8. [8]
    http://spinterview.media/articles/talking-heads-equipment-check/
  9. [9]
    https://i2.wp.com/spinterview.media/wp-content/uploads/2015/02/DSC4128-Copy.jpg?fit=1800%2C2164
  10. [10]
    Brend, Mark (2002). Rock and roll doctor: Lowell George : guitarist, songwriter, and founder of Little Feat. Hal Leonard. p. 81. ISBN 978-0-87930-726-4.
  11. [11]
    Drozdowski, Tec. "How To Get David Gilmour's Solid Gold (Top) Tone". Gibson Guitar Corporation. Retrieved 4 February 2011.
  12. [12]
    Chappell, Jon (1999). The recording guitarist: a guide for home and studio. Hal Leonard. p. 121. ISBN 978-0-7935-8704-9.
  13. [13]
    Messina, Jim. "Facebook - 12/20/2015". Facebook.
  14. [14]
    "John Frusciante recording Mellowship Slinky in B Major solo (Full) - YouTube". YouTube.
  15. [15]
    Masayoshi Takanaka - On Guitar, retrieved 2023-01-06https://www.discogs.com/master/1050166-Masayoshi-Takanaka-On-Guitar/image/SW1hZ2U6NDYzNTgyMTA=
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