Because there are so many different Fuzz pedals out there, I’ll list three options that losely match what David Gilmour has used over the years: Dunlop FFM1 Silicon Fuzz Face Mini The 2K trimmer resistor adjusts the bias currents of the OTA differential inputs, trying to make a perfectly balanced OTA. Imbalances in the + and - input pins can make the OTA noisy as the signal change levels. In practice, this trimmer is adjusted to the middle position and in very very very rare occasions it is adjusted to any other value. One consideration to make is how much control you'd like over the effect. Compression can be a bit of a dark art, and really mastering it can take some time, so beginners might want want to opt for something simple that offers more of a ‘set and play’ functionality with just a few knobs, or maybe even a single one. If you know what sound you want, and you either know how to adjust the parameters to get it or you’re well up for the challenge of trying, then look for something with a few more controls on it. Do different styles of music need different compressors?

The original MXR Script model which is not available nowadays uses the classic MXR white/yellow PCB with a distinctive shape. It was a one layer PCB with all the components on one side. When Dunlop acquired MXR in 1987, the PCB was progressively redesigned using modern materials/components and a double-sided PCB with red solder mask. A lower sensitivity setting is probably best for rhythm playing, as it lets you preserve the expressive dynamics of your strumming or riffing, only catching the peaks when you hit the strings too hard. The Script Dyna Comp Compressor combines that old school sound with a couple upgrades for modern gigging convenience. Spec'd from our own 1976 Dyna Comp Compressor, this pedal is built around the rare CA3080 "metal can" integrated circuit (IC), which yields quieter operation, greater transparency, and increased dynamic range. The last thing, and really the only “criticism” I have of the Dyna-Comp is that I find the Output knob doesn’t go loud enough.The output does not actively vary the gain, so more ‘open’ sounds will tend to be high output, low sensitivity, and more ‘squashed’ sounds will be higher sensitivity, and lower output. Sensitivity Masayoshi Takanaka - On Guitar , retrieved 2023-01-06 https://www.discogs.com/master/1050166-Masayoshi-Takanaka-On-Guitar/image/SW1hZ2U6NDYzNTgyMTA= The only control on the pedal is a speed control so it’s an easy ‘set and forget’ pedal. The downside is that it only has one control – so you won’t be able to tweak the effect like you can with other pedals.

In a nutshell, a bass compressor pedal takes your signal and levels it out. Your quiet bits will be made louder and your loud bits will be made quieter so that the whole thing is more of a general volume. Of course, how much the pedal squashes your signal is down to how you set the compressor. Some of the best bass compressor pedals have a range of controls on board to help you tweak different parameters, giving you complete control. The blue line (CA3080 positive input) level is slightly smaller (~1dB) than the negative input, it is due to a small signal bleed through the Rtrimmer and R5/R6. This OTA chip amplifies the voltage difference at its input pins:So whether you want to try to emulate David’s clean or dirty tones, a compressor is an important component. It won’t affect your tone in the same way other effect pedals do, but it can dramatically improve the overall quality of your tone. I find that the MXR sounds great when paired with an overdrive pedal like the JHS Morning Glory. It helps me achieve some really pronounced sustain and a dynamically controlled driven tone. Or for simply sending a rounded signal to other effects pedals in your signal chain. To get a clean boost from the MXR, you want the Output to be fairly high, but the Sensitivity fairly low.