new control is a toggle
switch labeled “Dirt.” That’s
right, this compressor can
add some grit—almost like
an overdrive—into the mix.
There’s a trimpot on the
side of the pedal enabling
players to dial in the amount
of gain they want. This
allows the PnP to act as
sort of a low-gain overdrive,
while also functioning as a
compressor, minimizing the
number of pedals one
might need.
In addition to the standard
quarter-inch input and
output jacks, there is also
an XLR/DI output on the
side so players can plug
straight into a mixing board
or other device. There is still
a Buffer/True Bypass switch,
which is on the side now—I
kept mine on the whole
time, as I use a compressor
near the beginning of my
signal chain, and I like the
added buffer to drive my
signal just a little bit more.
signal all the way up to
maximum strength, and
then use the blend for
deciding how much of the
compression one wants to
mix in with the clean signal.
Interestingly, I liked both
the compression and blend
control up pretty high giving
my tone a very even signal,
which is the whole point of
compression. Yet, I never
found my tone being overly
“squashed;” I still had good
dynamics, but it was even at
the same time.
WHAT WE LIKE
Overall, I think the Pulp
N Peel is a winner. It can
compress the signal from
very little to a lot, yet the
tone never sounds fake or
over the top, even when
turned up all the way. At
the same time, it can act as
a boost, an EQ, and a low
gain overdrive, all rolled
into one. Additional sustain
with an even and clear tone
that comes alive is just an
added bonus.
CONCERNS
Nothing at all.
One great feature that
continues on the PnP is
the Blend control, which
is somewhat unusual for
compressors. The benefit
is turning the compression
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