SKU: HL.731522
UPC: 852940000974. 3.25x5.5x2.75 inches.
Carl started years back with the Compressor Limiter...that big black hand-made-in-Denmark compressor that brought studio comps to the pedal board. The word got out that it was just too big for modern pedal boards, so Carl redesigned that pedal into a much smaller format, preset (or fixed) the Threshold and Response leaving just two knobs for Comp and Level. The feedback we got was overwhelming...players were telling us the Comp Limiter had the same sonic clarity, the same headroom and the same quietness that the big studio comps had but was so quick and easy to use. Carl could have left it there, but that's not Carl! Welcome to the Honey Comp, and it's as sweet as ... well, you know ... honey. This pedal is the same as the Comp Limiter in every way... same Gray anodized finish, same footprint and the same simplicity of use with one compression control and one level control. It is pretty much the perfect compressor, so what could Carl possible upgrade? Easy! Carl added a Dry volume which allows you parallel processing with three knobs! Parallel Processing is a studio technique which takes a heavily compressed signal (which through compression loses some dynamics if not all) and allows you to add a clean (Dry) signal on top replacing those dynamics giving your guitar three-dimensionality and allowing the guitar to cut through the mix. For those of you used to studio work, this is a very well-known technique, but usually too complex for a pedal board! The three knobs allow you to balance the Compressed signal with the Dry signal quickly and efficiently for a very pro sound! The Carl Martin Honey Comp incorporates the special CM developed DC/DC converter circuitry. This enables us to run the pedal with +-12V internally, which is necessary, in order to maintain the same sonic quality and headroom as on the “old†Compressor/Limiter, using a regular 9V DC 200mA external power supply.
SKU: HL.438851
UPC: 852940000851. 3.25x5.75x2.5 inches.
When Carl decided to update the Vintage Series, it did not take long to decide on a drive pedal....the DC Drive. Super simple but extremely versatile, the DC Drive features Level Tone and Drive controls which do the obvious, but it also has the Reg/Fat switch.....this is where the magic begins. In the Reg setting you get a traditional overdrive sound that is very quiet and adds no color to your tone. Dial in just enough to put an edge on your sound or crank it right up to full saturation, the DC Drive is pleasantly musical. Now switch over to the Fat setting and get more...much more. There's more drive, more mids, more bass, more natural compression, more sustain, and... who wouldn't want want more of that? The Fat setting is darker, and much more modern, so you get two distinct drives in one pedal. Only the clean boost was dropped from the original pedal in order to save space. Carl, is a smart man. Check out the new look DC Drive...cool, anodized, smaller footprint, die cast case, head mounted input/output/9v and that awesome Carl Martin DC/DC converter circuitry which allows the pedal to run with +-12V internally (this means better parts and better sound), all while being powered by a standard 9v 200mA power supply. Bigger sound, bigger tone, all analog, all Carl Martin!
SKU: HL.14017586
ISBN 9788759879412. English-Danish.
Preface I Programme Note TENEBRAE was commissioned by the Turku (Abo) Music Festival and composed for Finnish guitarist Timo Korhonen, whom I had known and admired for a long time. Timo gave a brillant premiere of TENEBRAE in Turku on August 13, 1991 and has played it several times since then. The title is Latin, and means darkness or gloom, but it also refers to the Roman Catholic matins and lauds services in Holy Week. These are held as dusk falls, and the idea is that the sixteen candles that are burning at the beginning of the service are gradually extinguished until, after sixteenprayers, the church is in darkness. The same development is carried through inTENEBRAE by musical means, so that we have not yet had to resort to acandlelit setting - although it is by no means out of the question. The piece makes extensive use of the guitar's properties for revealing quiet, intimate feelings, although naturally in a work of this scope there is contrasting material included. Jouni Kaipainen, 1993.
