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Maybe this is more of a TGP topic, but I know there are some people here that use them? What do you use? Why do you like them? Where do you like them in your signalchain?

I'm beginning to wonder if I'd benefit from one? I like the way softer and HARDER playing effects the tonality of things, and the way the strings buzz on my neck/pickups when I really dig into it. However, if I'm playing along with anyone and just mix it so max volume is perfect, then everything I play is too quiet unless I'm constantly slamming the strings.

To me this sounds like a compressor would come in handy?

Either that ^ or a cheap 1980s compressor that squishes and squashes.

I don't really like compressors, but sometimes they're useful.

I like 'em if I'm trying to play harmonics. I like 'em in front of an envelope filter. I like 'em after oscillating fuzz.

Sometimes if I just wanna hear Green Ringer, I use it to bring up the level of the Green Ringer.

So, it can be a good tool. May be useful to you. (From that description, I'm not exactly sure what you're trying to do with it though.)

EDIT: You may wanna turn up your amp and just use a volume pedal.

Basically I just want to keep my guitar from dropping out of the mix when I play softer? I'm playing with my drum machines and synths and want my guitar's signal to sit a little nicer in the mix of that stuff. Where compressors "compress" your dynamics I thought that'd be a good place to start?

I went through a bunch of them in 2011-2012 and landed on an Effectrode comp [v1] sometime in spring 2012.
It is an essential piece of kit for the bass rig. Not a fan of compression with guitar...other than real deal 1176 in all button-mode.
As for the squash/keep guitar audible in the mix with a light touch...Ross comp [or numerous clone] is prob the way to go.
For something easily obtained at a fair price I'd recommend MXR Cust Comp Deluxe. I had the orig Cust Comp with internal trimpots and the deluxe moves them to the outside. FWIW: I kept my Cust Comp for many months after deciding the Effectrode was the winner...and I'll be grabbing a CCD to replace it, myself sometime in the near future when a rarer piece of kit doesn't have priority access to the (limited) gear funds

I rarely use comps for the actual compression effect as such, more for the character they can bring to the table. I use an Emma Transmorgrifier with country bands, mainly because compressed Tele is a distinct part of that sound. Great quality, covers a lot of ground and can usually be picked up cheap on the used market.

… and it's purple. ^^^

I use one with my single coil guitars primarily when fingerpicking, but other times as well if I want that real spanky drive sound or if I just want to sound like the smiths. I use a pigtronix philosopher's tone. I like it because of the blend control and the treble control so I can dial my high end back in and cut through a band mix. I also run it behind a fuzz factory which allows me to crank that thing however I need to without losing complete control. I use 2 main settings... one for the squish and another for clean sustain (usually in conjunction with the fuzz factory for leads)
The old school PT that I currently run takes up 2 spots on the power supply and has the funky jack configuration which has me looking for something more pedalboard friendly...I've been looking at the fairfield as a possible replacement or the micro version of the PT. So while we are on the comp topic any advices would be much appreciated

Chankgeez wrote:… and it's purple. ^^^

That too. It's the lone splash of whimsy on an otherwise painfully practical board.

I use a Mooer Yellow Comp, which I really like.
I mostly use it for slide/screwdriver(GY!BE-style)/bow, to cover up sloppiness. But also to make "quiet sounds" louder or to tame harsh sounds when doing prepared tabletop guitar.

I only use limiters to avoid unwanted distortion and too high signal peaks when recording. The BOSS LM-2 is a great tool for that.

Apart from that I really don't like the sound of typical compressors. They mess up my dynamics too much (which is their job ).

I usually really like the sound of a slightly overcompressed guitar, especially if it's JFET compression. It colours everything in a way that I really, really like, makes it all dirty enough to bring some life back into a dry signal. I bought it for the practical side of things, just leveling out the signal (tried it at beginning and end of chain, end as a limiter) and have stuck with it at the beginning because of the way it interacts with some of the pedals after it, some good, some not so good. I actually tend to use it less when recording because I can alter levels in post, and the squishiness isn't as enjoyable on record for me. I use a Fairfield Accountant though, and absolutely love it and would certainly recommend it.

Pepe wrote:I only use limiters to avoid unwanted distortion and too high signal peaks when recording. The BOSS LM-2 is a great tool for that.

Apart from that I really don't like the sound of typical compressors. They mess up my dynamics too much (which is their job ).

Everything Pepe said, specially the last thing.

I use an old DOD FX80B: http://www.americaspedal.net/fx80b/

I mainly just wanted something to make notes sustain longer, and it does that well without altering other aspects of my sound too much. I play with a ton of distortion 90% of the time and you can't really tell when its off or on most of the time. When a note would naturally be decaying (but it isnt cuz of the pedal) is the only time you can really tell.

Clean tone is a different story. I don't really like the way it sounds clean, takes away dynamics and makes funny things like pick noises and that kind of shit way louder.

Chankgeez wrote:

got one on my guitar board and one on my bass board. it gooses other pedals nicely. it can be subtle or aggressive and has a nice slight coloration.

^Ditto. I run it on the very end of my main/right side chain though. Always on, pad 1, ratio 0 (1 on bass).

I like compressors for that sound, dunno what to call it, the really fast, soft, shallow warbling whan it limits the signal in a firm but soft sustaining grip.