The pedal is easy to use , but that ’ s because the hardest part of using a compressor — in my opinion — is getting the release time right . Big Payback settles on an idiotproof setting that always results in a warm fat signal ; it ’ s not super fast , but it ’ s always fast enough . What ’ s really impressive is that , no matter how hard you hit the compressor , the signal stays present , with a sweet gloss . So , while you might squash your signal , it will never sound bad ; at low settings , it ’ s a gorgeous tone enhancer , and I ’ m the kind of guy who thinks that if you need a tone enhancer it means you ’ re using the wrong amp or guitar .
Using high-output pickups , I found tone-sweetening settings starting around 8 o ’ clock on the Compression knob . Moving up , I found settings that would be right at home in the Grand Ol ’ Opry or the Apollo . By approximately 10 o ’ clock I had settings that allowed me to maintain unity volume while switching between my clean signal , overdrive and fuzz . Moving Compression to noon and rolling the Attack knob counterclockwise , I had an unobtrusively squashed setting that would be perfect for rhythm in a large , multi-instrument ensemble .
At this point , I was impressed by how easy it was to find great sounds , but I was surprised that I was using such modest settings for such a wide range of effects . However , when I switched to low- output pickups I discovered how sensitive Big Payback is , and the second half of the Compression control ’ s range became invaluable . The pedal was still gorgeous , and still had plenty of squash on tap . Bravo , Mr . Black !
Idiot proof operation and gorgeous sound . Even those who don ’ t need a compressor might want this one after playing with it .
The pedal ’ s instruction sheet suggests it can function as an auto volume-swell effect , similar to Boss ’ classic Slow Gear , but I wasn ’ t able to recreate this effect . I ’ ve no doubt it will work for some , but I wouldn ’ t recommend this pedal to those for whom that ’ s a primary selling point .
compressor . What this means is that the dynamics are exaggerated , with quieter passages being more so and louder passages being louder . This might be fun for leads , but it was a little too unwieldy for chords . However , easing the Compression clockwise , I found a sweet spot where the expander ’ s extremes were more modest , and that gave me a fantastic low-gain , dynamic and , yes , “ transparent ” overdrive . This alone is worth the price of admission but , lest we forget , Big Payback is a compressor .
The pedal is easy to use , but that ’ s because the hardest part of using a compressor — in my opinion — is getting the release time right . Big Payback settles on an idiotproof setting that always results in a warm fat signal ; it ’ s not super fast , but it ’ s always fast enough . What ’ s really impressive is that , no matter how hard you hit the compressor , the signal stays present , with a sweet gloss . So , while you might squash your signal , it will never sound bad ; at low settings , it ’ s a gorgeous tone enhancer , and I ’ m the kind of guy who thinks that if you need a tone enhancer it means you ’ re using the wrong amp or guitar .
Using high-output pickups , I found tone-sweetening settings starting around 8 o ’ clock on the Compression knob . Moving up , I found settings that would be right at home in the Grand Ol ’ Opry or the Apollo . By approximately 10 o ’ clock I had settings that allowed me to maintain unity volume while switching between my clean signal , overdrive and fuzz . Moving Compression to noon and rolling the Attack knob counterclockwise , I had an unobtrusively squashed setting that would be perfect for rhythm in a large , multi-instrument ensemble .
At this point , I was impressed by how easy it was to find great sounds , but I was surprised that I was using such modest settings for such a wide range of effects . However , when I switched to low- output pickups I discovered how sensitive Big Payback is , and the second half of the Compression control ’ s range became invaluable . The pedal was still gorgeous , and still had plenty of squash on tap . Bravo , Mr . Black !
WHAT WE LIKE
Idiot proof operation and gorgeous sound . Even those who don ’ t need a compressor might want this one after playing with it .
CONCERNS
The pedal ’ s instruction sheet suggests it can function as an auto volume-swell effect , similar to Boss ’ classic Slow Gear , but I wasn ’ t able to recreate this effect . I ’ ve no doubt it will work for some , but I wouldn ’ t recommend this pedal to those for whom that ’ s a primary selling point .
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