Amps that pair well with the MXR Dyna Comp

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (bright → warm)

The Dyna Comp's transient squash evens out the pick attack before it ever reaches the Prosonic's own warm, responsive overdrive.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (bright → warm)

The St. James' clean channel gives the Dyna Comp's squashed sustain a transparent platform to be heard clearly on.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (dark → bright)

What MXR Dyna Comp brings here leans toward bright — that's worth building a pairing around

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (warm → bright)

The Dyna Comp's squash levels pick dynamics before they reach the JTM45's own naturally responsive breakup.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (scooped → mid-forward)

The Dyna Comp evens out pick attack before the Rocket Bass's own preamp warmth, keeping funk and soul lines consistent.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (dark → bright)

The Archon Classic's heavy, modern gain responds a lot more predictably once the Dyna Comp is squashing the attack ahead of it.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (transparent → mid-forward)

Put the Dyna Comp before the Dual Rectifier and its squash keeps the pick attack from spiking into all that valve-driven gain.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (warm → bright)

The Dyna Comp's squash evens pick dynamics before the Jubilee's own responsive, punchy breakup.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (scooped → mid-forward)

MXR Dyna Comp leans toward bright, and that's a real, usable character to pair with

Comes later in the signal chain

shapes the dynamic responseShapes how the tone responds to picking dynamics rather than its frequency or gain.

The Dirty Shirley's British crunch gives the Dyna Comp's percussive squash something to sit on top of rather than a fully clean platform.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (transparent → mid-forward)

The Dyna Comp's squash evens pick dynamics before they reach the Twin Reverb's huge, responsive clean headroom.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (scooped → mid-forward)

The Dyna Comp's squash evens pick dynamics before the Super Reverb's own clean, spacious breakup.

Comes later in the signal chain

shapes the dynamic responseShapes how the tone responds to picking dynamics rather than its frequency or gain.

Ahead of the MV50, the Dyna Comp keeps a tight, consistent attack for direct-recording crunch takes.

Comes later in the signal chain

shapes the dynamic responseShapes how the tone responds to picking dynamics rather than its frequency or gain.

What MXR Dyna Comp brings here leans toward bright — that's worth building a pairing around

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (scooped → mid-forward)

Compression first, drive second — the Dyna Comp keeps the LX35R's own scooped practice drive from getting spiky.

Comes later in the signal chain

shapes the dynamic responseShapes how the tone responds to picking dynamics rather than its frequency or gain.

The 100R's liquid, thick rhythm distortion responds more predictably with the Dyna Comp's squash running ahead of it.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (warm → bright)

The Dyna Comp's squash evens out picking dynamics before they hit the Bluesbreaker's own natural compression, for an even more controlled attack.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (transparent → mid-forward)

MXR Dyna Comp leans toward bright, and that's a real, usable character to pair with

Comes later in the signal chain

shapes the dynamic responseShapes how the tone responds to picking dynamics rather than its frequency or gain.

MXR Dyna Comp leans toward bright, and that's a real, usable character to pair with

Comes later in the signal chain

shapes the dynamic responseShapes how the tone responds to picking dynamics rather than its frequency or gain.

MXR Dyna Comp's own bright character is the real reason this is worth trying

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (transparent → mid-forward)

Even the Bloomfield Drive's smooth, high-gain lead voice gets more predictable once the Dyna Comp squashes the attack first.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (transparent → mid-forward)

What MXR Dyna Comp brings here leans toward bright — that's worth building a pairing around

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (transparent → mid-forward)

MXR Dyna Comp's own bright character is the real reason this is worth trying

Comes later in the signal chain

shapes the dynamic responseShapes how the tone responds to picking dynamics rather than its frequency or gain.

MXR Dyna Comp's own bright character is the real reason this is worth trying

Comes later in the signal chain