Wow, this guy is compressor obsessed. One I’d like to try is the XTS Fermata but check out his list of reviews! Seems like he’s tried them all.
https://www.compressorpedalreviews.c...ressor-reviews

His review of the Wampler Ego is spot on. I either want a subtle, noiseless increase in sustain for volume swells or I want to really hear it for chicken picking and funk rhythm. I don’t use compression for lead tones but occasionally I turn it on for a line or melody that needs to pop out more.

I was always happy using the Ross side of the BiComp on a very low setting but mine is the second version that fixed some phase issues or whatever. The newest version has a Mix knob.

The Squeezer side of the BiComp is really good for adding harmonic mojo to distorted sounds. Steely Dan, etc

On a philosophical note: Blend knobs on compressor pedals are nice but it's a bit a sign of the times as well as you might 'half-commit'. Trying to cover your ass and end up with a tame and weak sound.

The Cali is indeed really great sounding but for me it has too many controls even in the 'Compact' version. With the crude nature of an electric guitar signal I see no reason to fine-adjust In- and Output and Mix/Ratio and Attack/Release - this being a pedal and with oh-so-many more gain and EQ options further down the line on your XXL pedalboard.

I disagree. My Xotic SP has a blend control, and I find it very useful for getting the natural tone, with a bit of sustain.

This. Parallel compression is one of the oldest tricks in the book: that’s what the blend knob essentially is. Literally no one is calling “NY style” compression “half-assed.”

Many compressors out there with a blend control (Keeley, Fender, Wampler, TC, Pigtronics, others). The issue is whether the basic tone is good.
While parallel compression was there since the 50s, I find its use limited on guitar.

I think guitars benefit greatly from parallel compression both in pedals and when mixing. I used a dynacomp for years and it basically had one setting that sounded great. But even then it was full squishy which wasn’t always right. I always wished I could dial it back a little, not because I didn’t want to commit but because it would sound even better to keep some of the transient intact. With the Wampler Ego comp I can get that Dynacomp sound and a dozen others.

As far as mixing goes, acoustic guitars have transients that are like a hi hat. Parallel compression is a great way to even it out without making it sound overly compressed.
Sometimes I want to hear compression as an effect but sometimes I just want to park a guitar in your face and make it consistent. The more tools you have in the toolbox the better!

Compression by definition "evens out " frequencies, often bringing up artefacts one can live without. With a frequency rich sound like (other then aneimic) guitar sound, that evening out maybe not what's needed, especially if the amp and speaker are driven to compress the tone. Then you are parallel compressing, you are bringing all the artefacts back on top of the compressed sound. Kinda self defeating, as you are bringing phase type artefacts into the equation. That's why parallel compression has never been very popular with electric guitar. Inline it works if used sparingly.
Wampler Ego I like because when driven it has a kinda distortion which I like.
Dynacomp is a 1-trick pony. I find that something like Empress comp, at longer attack a much useful tool if used in parallel, but only very sparingly even with this epitome of a transparent comp.

Yeah I never parallel compress amp’d Guitars just acoustics. Played a solo with a pick on a nylon string guitar yesterday and parallel compression in DAW made a huge difference in narrowing the dynamic range and filling out the character. I’d never use a pedal on something like that.

I use whatever it takes to get the sound I’m hearing in my head and try to keep an open mind and learn as many techniques as possible.