Tech 21 CompTortion

Tech 21 CompTortion

The CompTortion logically, and uniquely, combines two effects: compression and distortion. No other single pedal offers this kind of control over such a range of sounds --from totally clean to light distortion to smooth overdrive, and from zero compression to completely squashed.

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User Reviews of the Tech 21 CompTortion

  • Submitted by Matt from Melbourne (12 points) on Jul 30, 2011
  • I've owned quite a few different distortion pedals

    over the years, and this is the only one I've kept

    because of it's incredibly versatility.

    Most distortion pedals color the sound coming

    through it, but this pedal differs from most in that

    it is completely transparent.

    This means that unlike a typical 'death metal'

    distortion (where you switch it on and get an

    instant 'meaty' sound) this pedal can add insane

    amount of compression and distortion but still keep

    the tone quality untouched and accurate.

    The transparency and quality of the sound that it

    lets pass through is perfect for contact mic and

    harsh noise applications where the frequency ranges

    can get absurdly high and low, and you don't want to

    loose any detail in the sound.

    The range of the parameters on this pedal is

    extremely wide, so it can be hard to 'set and

    forget' a particular setting.

    I think that the pedal works much better if you play

    by ear and tweak it as you play, because the tone is

    'see through' enough that you can get away with

    doing wild sweeps of the parameters without any

    unexpected tonal suprises.

    This pedals is good at the end of the chain as a

    master brickwall distortion/compressor, so that you

    do not need to worry about the volume dynamic

    problems inherent in feedback loops or circuit bent

    devices.

    In fact it's so good at the job that I just realised

    I've never used this in a feedback loop, because

    it's always been busy at the end of the chain.

    The knobs are also just the right size and feel for

    tweaking whilst sitting ontop of a deskspace.
  • Good Points: The pedal is so transparent that you can use it like

    a surgical dynamics sculpting tool.

    No Tone loss, so it's perfect for Electro-Acoustic

    and wide frequency work.

    Superb used at the end of the chain as a master

    distortion/limiter.

    Extremely Durable

    They can be found cheap second hand.
  • Bad Points: Will not magically transform everything into a meaty

    raptor sound the way a typical death metal pedal will.
  • Price Paid: US$100.00
  • Purchased At: Second Hand
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  • Submitted by burnn_out! from Roseville, MI (62 points) on Jan 17, 2011
  • rather unique pedal somewhat of a more aggressive big muff. very noisy. havent tried it in a floop. but generally rocks in a signal chain. sounds sweet on a drum machine. for the price to me its pretty much indespensible.
  • Good Points: noisy harsh versitile
  • Bad Points: uhh not really
  • Price Paid: US$45.00
  • Purchased At: da beyz
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  • Submitted by jonah from San Francisco, CA (26 points) on Mar 14, 2009
  • A pretty over the top compressor/distortion. I've been accused of using a broken pedal with this thing. crackles and sizzles are abundant, excellent feedback pedal. very very organic evolving sound when left to drone. Knob settings also tend to drift so marking your settings is a moot activity.
  • Good Points: seriously noisy.
  • Bad Points: seriously noisy.
  • Price Paid: US$60.00
  • Purchased At: marina music, culver city ca
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