Wampler Mini Ego 76 Compressor Review

When Brian Wampler released the full-sized Ego 76 compressor, it quickly became my favorite compressors from Wampler. Now he's taken that same FET-based 1176-inspired circuit and shrunk it down into a mini format. The question is: what did we gain and what did we lose in the miniaturization process? Read on or read my review of the full-sized Wampler Ego 76 compressor for context first.

The most obvious difference is size between the two compressor pedals. The Mini Ego 76 measures just 1.6" x 3.9" x 2". For those of us constantly fighting for pedalboard real estate, this is a significant advantage. This one is definitely pedalboard friendly. But size isn't the only difference.

The control layout has been simplified. Where the full-sized Ego 76 offers six knobs (Compress, Attack, Release, Tone, Blend, and Volume), the Mini version gives you three knobs (Level, Compress, and Blend) plus Attack and Release three-way switches. That Tone control from the full-sized version? It's gone. So what about that missing Tone control? On the full-sized Ego 76, I found that Tone control quite useful, particularly with the dial set between 1:00 and 2:00 where it introduced a nice sparkle and shimmer up top. Without it, you're at the mercy of the pedal's inherent tonal character. The manual says the tone of this pedal is setup for a flat EQ response equivalent to the “noon” position of the Tone control on the regular EGO 76 Compressor pedal. In practice, I found the Mini Ego 76's natural tone to be well-balanced. It doesn't seem to roll off highs the way some compressors do, and it doesn't add excessive brightness either. But if your rig is particularly bright or dark, you don't have the ability to compensate the way you could with the full-sized version. This might be a dealbreaker for some, or a non-issue for others depending on your setup and tonal preferences.

Having an on board tone control on a compressor pedal wouldn't be my first criteria for selecting a compressor. It can be nice for sure.

If size is of concern, giving up a tone control for the sake of smaller format is fine in my opinion. But that's a matter of preference.

The Attack and Release controls have been converted from continuous knobs to three-way switches. This is a trade-off. You lose the infinite variability of the full-sized version, but you gain speed and simplicity. The switches offer preset positions that Brian has chosen as what he believes to be the most useful settings. Attack controls how quickly compression is applied; there are three settings. Left is fast, middle is slow and right is medium attack. Fast (Left): 10ms Slow (Middle): 166ms Medium (Right): 105ms Release controls how long the compressor grabs the signal; there are three settings. Left is fast, middle is slow and right is medium release. Fast (Left): 297ms Slow (Middle): 1770ms Medium (Right): 579ms The switches make it quick to dial in a setting, and for most applications, I think they're perfectly adequate. For those who like to fine-tune every parameter, it might feel limiting. In practice, it is easy to hear how the switches are functioning in each position. I do think they are both tuned quite nicely and definitely useful in all three positions.

If you are one of those "less is more" type of person then I suspect you will be right at home with the operation here. It's easy to get sucked in to analysis paralysis and having the three way switches avoids that all together.

The Compress knob works similarly to the full-sized version, adjusting how much compression is applied to your signal. It's tuned to work like the ratio control on a 1176. Rotating the dial clockwise increases compression. I found my sweet spot between 9:00 and noon, just like with the full-sized version. Above noon, things start getting squashed more quickly.

The Blend control is crucial here, and it's highly interactive with the other controls. Turn the dial clockwise to increase the amount of compressed signal present. Rotating more counter clockwise reduces the amount of compressed signal restoring more of your dry uncompressed signal. I've said it before in my other reviews but it is worth noting here again. I do really appreciate compressors that offer parallel compression, especially when playing 5-string bass guitars because the blend helps retain low end. This blend control remains one of the most important aspects of the Ego 76 design, perhaps even more so on the Mini where you don't have the Tone control to shape your sound. It is highly useful. Use it to your advantage. It is well implemented here. Like all Wampler pedals, the Mini Ego 76 is built in the USA with high-grade components. It sports the same premium sapphire sparkle finish as the full-sized version – that attractive blue base with purple and blue sparkle that looks even better in person than in photos. It really does. The finish has a nice weight to it, and all knobs turn with precision and good resistance.

The pedal draws 20mA at 9V DC (center negative), same as the full-sized version. There's a red LED that illuminates when the pedal is activated. Input and output jacks are side mounted.

But how does it sound? The core tone and feel of the Mini Ego 76 is very much in the same ballpark as its bigger sibling. This is still a FET-based compressor inspired by the legendary 1176 studio unit, and it retains that characteristic energy and liveliness I liked about the full-sized Wampler version.

The Ego 76 Mini isn't a transparent compressor, but it isn't overly colored either. It definitely imposes some personality on your signal – that's part of what I think makes it special. Sometimes you can turn on a compressor, dial it in and immediately like it. Like the full size edition, that's the feeling I get with this one too.

Brian's pedals have such clarity, and this one is no exception. It lifts and separates notes in a pleasing way. It evens things out beautifully and adds a certain sparkle that is really sweet.

If you want a compressor that retains the low end well, the Mini Ego 76 is a great option. It's punchy and lively feeling with enough color and effect to put a smile on your face. It definitely makes your tone feel bigger but not in a boomy or muddy sort of way.

Headroom appears to be good in general. One thing I found with the original Wampler Ego (the OTA-based one, not the Ego 76) is that headroom could be an issue. The full-sized Ego 76 was much better in this regard, and the Mini seems to follow suit. At higher compression levels and with faster attack you can get it to distort though. A goosed up high output bass guitar with on board preamp can push the Ego Mini too far. But at less aggressive settings there's no issue with headroom that I noticed.

Just like the full-sized version, when you turn the Compress knob all the way clockwise, you engage something approximating the famous "all buttons in" mode of the original 1176 – sometimes called British mode. You'll definitely need to use liberal amounts of the Blend control and dry signal to avoid an extremely squashed tone and feel. To me, it's fun and useful with guitar but not so much for bass guitar because even with aggressive use of dry blend the output is still highly squashed. It is fun to play with though. I suspect using this mode downline from effects like OD, distortion, and other forms of dirt pedals would yield interesting results.

The Wampler Mini Ego 76 compressor pedal is very quiet. Like the full-sized version, it's quieter than a lot of other compressors on the market (and quieter than the original OTA-based Ego). This is important for an always-on compressor, and the Mini delivers here.

Like the full-sized Ego 76, there is no LED indicating gain reduction or the point at which compression is engaging. You are going to need to use your ear. It's a bit disappointing that a gain reduction meter was not integrated, but this seems to be a Wampler design philosophy across their compressor line. At least from what we've seen in their offerings to date.

Should you go for the full size Ego 76 or the little Mini Ego 76?

If pedalboard space is at a premium and you don't mind giving up the Tone control and continuous Attack/Release adjustment, I think the Mini Ego 76 is an excellent choice.

To my ear it captures what I'd consider the essential aspects and character of the full-sized version in a much smaller footprint.

If pedal board space is a premium I see no reason not to put this one on your buying list. At $149.97 versus $199 for the full-sized version, it's also $50 cheaper. Hey, every bit helps right?

However, if you have the board space and want maximum control over your tone shaping, the full-sized Ego 76 is probably worth the extra chunk of change. I say this for a couple of reasons. In general, I think the tone control is genuinely useful, and the continuous Attack and Release knobs offer more precision. Secondly, for bass guitar specifically, I'd lean toward the full-sized version. The additional tonal shaping capability is valuable when dealing with the wider frequency range of bass, and the extra $50 is worth it for that flexibility.

At $149.97, the Mini Ego 76 is priced very competitively. It's significantly less than the Origin Effects Cali76 Bass Compressor or FET Compressor, and it's in the same ballpark as many other boutique mini compressors. It definitely has more energy or liveliness than the original OTA-based Wampler Ego compressor. Like the full-sized Ego 76, I hear a bit of grit with higher compression levels. I think that has a lot to do with why it has an inherent liveliness. Another stellar small format compressor pedal to consider is the Becos CompIQ Mini Pro Compressor. That's a killer little package but not as lively sounding as the Wampler Ego 76 Mini. That may or may not be a plus in your book. I also wrote a Pigtronix Philsopher Bass Compressor Micro review but I prefer the Wampler Ego 76 Mini. Read that review for my thoughts on the Pigtronix.

I suspect most will tend to use the Mini Ego 76 as an always-on compressor.

You probably won't want to turn it off once you get it dialed in to your liking. When you turn it off you realize the degree to which it is livening the tone and adding subtle excitement in a really good way.

The Mini Ego 76 is a very nice compressor. I think Brian Wampler has successfully condensed the core of what makes the full-sized Ego 76 special into a mini format. It's less about squeezing your sound and more about just making it...better. The price of admission is nice too.

If you are looking for a squeaky clean, transparent compressor, consider the Becos. If you like using compression as an effect (think gooey, or dip and swell) look elsewhere. If you want a non-clinical, lively and useful general-purpose device that sounds great in a space-saving format, give this one a try. It's small, It sounds great. It looks great. It's sparkly!

Retail price: $149.97 Pros: • Energy and lively feel • Sounds great • Compact size saves pedalboard space • $50 less than full-sized version • Relatively versatile • Quality build • Very quiet • Retains low end well • Blend control works beautifully

Cons: • No Tone control • Attack and Release switches instead of continuous knobs (less precision) • No LED gain reduction meter • No dedicated ratio control • Possibly not enough headroom in some cases

Get the Mini Ego 76 at Sweetwater or Amazon. WamplerPedals.com  Read my review of the Wampler Ego compressor and Wampler Cory Wong Compressor.

See all compressor pedal reviews.