Manual
Thank you for purchasing the Carl Martin Andy Timmons
Signature Compressor/Limiter! Just like the Carl Martin
Compressor/Limiter, we believe this unit to be the most
musically useful guitar dynamics processor on the
market. The Carl Martin Andy Timmons Signature
Compressor/Limiter has been developed in corporation
with Andy Timmons to create a user-friendly yet versatile
compressor/limiter with its two presets.
Andy Timmons, long-time user and fan of the Carl Martin
Compressor/Limiter, suggested to Carl to create a
Compressor/Limiter with two presets, so that he had a
preset for more subtle rhythm parts, and a preset with
more hard compression and sustain for other parts as
solos without having to take up real-estate on the board
for two Compressor/Limiters.
The result is a two-preset option for Compression Rate
and Level. In order to save knobs and to be as userfriendly as possible, the Threshold and Response settings
are fixed for both presets, leaving the pedal with only six
knobs, the Threshold and Response being 6mm miniature knobs.
As a useful extra feature we incorporated a ¼” jack for
remote switching the presets (Latching).
As something new, the Carl Martin Andy Timmons Signature Compressor/Limiter incorporates the newly
developed DC/DC converter circuitry. This enables us to run the pedal with +-12V internally, which is necessary in order to maintain the same sonic quality and headroom as on the “old” Compressor/Limiter using a
regular 9V DC 200mA power supply.
The Carl Martin Andy Timmons Signature Compressor/Limiter has been developed to incorporate the same
features, sonic clarity, quietness, and performance of the best studio compressor/limiters. Spend a little time
with us here in the manual and you can learn some of the basics of compression and limiting, and how to get
the most out of your pedal.
Simply put, compression and limiting may be defined as the active control or modification of the dynamics of
an audio signal.
Dynamics may be described as the loudness characteristic of an instrument: the way the note begins, sustains,
and ends. Every instrument has dynamics; for example, a guitar has a very strong initial attack and a smooth
decay,
1
while a violin has a generally slower attack and will sustain a note as long as you keep bowing the strings. A
compressor allows you to change the character of a guitar's natural dynamics. The result ranges from a subtle
fattening of the tone to radical singing violin effects, and many useful variations in between.
To begin with, be aware that in any compressor/limiter the controls are interactive, and one control may function
somewhat differently when the other controls are set in various positions. Reading this manual, and spending a
little time familiarizing yourself with the controls will generally produce the best results.
The four controls on the Compressor/Limiter are:
Threshold
Comp Comp
Fig. 2
Response
Level Level
THRES, or Threshold, sets the level at which the compression starts to take effect. The higher (clockwise) you
set this control, the harder you must play before compression starts to occur. The lower (counterclockwise) you
set this control, the sooner compression starts to occur, and can be audible even when playing softly.
COMP or Compression sets the ratio of compression that will be applied to your signal. The ratio, in conjunction
with the THRES setting will determine how hard, or how gently, the compressor will affect your signal. Turning
the COMP knob clockwise increases the ratio, giving you more compression, while turning it counterclockwise
lowers the ratio, giving you a softer effect. There are no right or wrong settings for the ratio, or any other control
on a compressor for that matter. It is entirely an artistic choice, based upon what you want to hear.
RESP or Response determines the way the compressor responds to your playing. In full clockwise position the
unit acts as a peak-limiter, providing a simple "brick wall" attenuation (reduction of the signal) when the signal
reaches the point you have set on the THRES knob. The more you turn the RESP knob counter clockwise, the
more the unit acts as a modern compressor with signal-dependant attack and release times. In simple terms, If
you like a more effected sound, where you can clearly hear the compressor actively shaping your sound, you
want more of a compressor response (RESP more counter-clockwise), if you want a limiting function you want
the RESP knob more clockwise.
Try setting the pedal like this:
Threshold
Comp Comp
Fig. 3
Response
Level Level
This is set for a very active, signal-dependant compressor function. As you play, turn the THRES knob counterclockwise, and you will see how quickly the compression starts to occur, and how strongly it interacts with your
playing.
Now, try setting the pedal like this:
Threshold
Comp Comp
Response
Level Level
Fig. 4
This is more of a fixed-point limiting function. As you play, turn the THRES knob counter clockwise, (you will have
to turn it further than with the RESP knob set as in figure 3) and you will hear the unit start to effect the signal.
Spend some time playing with the THRES and RESP knobs in various places, leaving the other knobs alone for
now, and you will see the different kinds of responsiveness available to you. As you become familiar with the
pedal, you will find just the settings you are looking for. Of course, the COMP settings will make a difference in
all cases, but to keep things simple, it's good to start with the COMP set as in figures 3 & 4.
GAIN is also called "make-up gain", and that is because the more you compress the levels, the softer the signal
becomes and this control allows you to compensate for this. By the way, "Gain" is simply a more precise,
scientific-term for "volume" or "level" so there is nothing mysterious about this control. Switch the pedal in and
out with the footswitch and adjust this knob as needed. You can also use it to get a bit of boost for a solo. If you
use single-coil pickups, you will notice that extreme compression settings will accentuate the hum and noise
from these pickups. That is simply the nature of compression and single coil pickups, not a function of the pedal,
and all compressors exhibit this trait. If you have humbuckers, or you stand where there isn't much hum pickup,
you will quickly notice the extreme quietness of this pedal. It really does perform very much like a high-end studio
unit.
The "Busy Light" simply tells you how much compression is being applied to your signal. The brighter it gets, the
more compression.
Ok, to start out, let's try a good, basic "fattening" sort of compression. This is what engineers often do to your
signal in the studio, so you will generally find this a familiar and musically useful sound. To begin with, use these
settings:
Threshold
Comp Comp
Fig. 5
Response
Level Level
Adjust the THRES control counterclockwise until you start to hear the compression effect and the Busy light
starts lighting up. Adjust the gain as needed.
Now, leaving the THRES control where you can hear the effect, start adjusting the COMP control:
Threshold
Comp Comp
Fig. 6
Response
Level Level
You will notice that the compression becomes harder and more abrupt, giving you more of a "squashed" sound.
Now, leaving the COMP control about here, and the RESP control here:
Threshold
Comp Comp
Fig. 7
Response
Level Level
and the threshold set where you can hear the compression working, start adjusting the RESP control. Here is
where the long, singing, sustain sounds may be found.
Threshold
Comp Comp
Fig. 8
Response
Level Level
By the time you have modified your dynamics to this extent, a plot of your signal would look something like this:
Volume
Time
Fig. 9
Remember, the more counter-clockwise the RESP setting is, the more active and compressor-like the dynamics
control will be, so you may need to adjust the THRES a bit to get "out of the compressor" a little. With appropriate
THRES settings, and the RESP set close to counter clockwise, some really nice funk and clean country
"chicken-pickin" sounds may be found.
With all of these sounds, remember to keep trying different THRES settings, as this will make a big difference in
how the effect works.
As you can see, this pedal is capable of many useful sounds. Now that you have the basics, experiment and see
what other sounds you may find.
Remember, its all about making great music. We hope that this Carl Martin pedal will assist you in your musical
goals!
Power Requirements
The Andy Timmons Compressor/Limiter comes with the innovative Carl Martin DC/DC circuitry that delivers
internally +-12V regulated.
Power consumption: max. 130 mA
Power supply: 9 V DC (regulated), 200 mA minimum, 2.1 mm female plug, center negative (-)
PLEASE NOTICE: It’s not possible to use battery, only external power supply (not included)
ATTENTION: Please Use DC Power Supply Only! Failure to do so may damage the unit and void the warranty.
Specifications
Input……..........……........ 1M Ohm
Output………………........ 200 Ohm
S/N Ratio......................... 105 dB (clean out)
THD distortion.................. 0,05%
Threshold Range............. 60 dB
Compression Range........ from 1:1 to 1:00
Warranty: Carl Martin Research warrants the manufacturing, material and proper operation for a period of one
year from date of purchase. Carl Martin will replace defective parts, make necessary repairs or replace the
unit at the discression of our technicians. The warranty applies only to the original purchaser of this product,
and excludes any damage or faulty operation resulting from misuse, neglect or unauthorized service.
Made By East Sound Research Denmark
East Sound Research Raadmandsvej 24 8500 Grenaa Denmark Phone: +4586325100
E-Mail: info@carlmartin.com
Responce Range............ from 125 mS to 12,5 mS
Gain Range..................... +-20 dB
Dimensions .................... 120 (W) x 95 (D) x 56 (H) mm
4.72” (W) x 3.74” (D) x 2.2” (H)
Weight............................. 420g / 0,94lbs
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