MusicRadar Verdict
Possibly the best-sounding compact compressor around.
Pros
- +
Versatile tones via blend knob. Solid build.
Cons
- -
Not much at all.
MusicRadar's got your back
A lot of guitar compressors are based on variations of the classic Ross Compressor/MXR Dyna Comp circuitry, and the Ego is no exception - but it adds some extra features that greatly increase its versatility, most notably blend and tone knobs.
"It's great for adding a more 'singing' quality to clean (or dirty) leads"
You get a sustain control to effectively increase the amount of compression, and an attack knob, which tweaks the start of your note envelope to give it the sort of 'snap' that works so well for country picking.
But it's actually the blend knob that gives you loads more options for a natural but compressed sound, allowing some of your unprocessed tone through in parallel with the compressed. The tone knob can counteract any dulling and will add some sparkle if needed.
Adding a more 'singing' quality to clean (or dirty) leads, emphasising picking or smoothing levels for consistency - whatever you need a compressor for, this should deliver it for you.
Trevor Curwen has played guitar for several decades – he's also mimed it on the UK's Top of the Pops. Much of his working life, though, has been spent behind the mixing desk, during which time he has built up a solid collection of the guitars, amps and pedals needed to cover just about any studio session. He writes pedal reviews for Guitarist and has contributed to Total Guitar, MusicRadar and Future Music among others.

"Our song about a guy angry after a break-up is really about Putin and the former Soviet republics": The Pet Shop Boys' Russian lament - Neil Tennant talks war and more

“There's only one person on Earth who could turn a highly conceptual, fiercely political, free-form jazz-rap fusion record into a global hit”: Making Kendrick Lamar's To Pimp a Butterfly

“Money should never be the reason that good art is not made”: This classic interview with The Crystal Method explores talent vs tech, plus an enduring love for Radiohead and Bill Withers