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to answer this as simply as possible, the main difference is that guitar pedal compressors generally have paired down control schemes, with usually something like attack, gain, and the "sustain" which is somewhat like the threshold. The ratio is usually fixed and often pretty severe. They are also almost exclusively in mono.

The intention of this control scheme is to give the guitarist notes that sustain longer when used aggressively, and some subtle dynamic leveling in lighter settings.

For the most part, the controls provided don't allow for the more involved shaping capabilities of a real compressor. The circuits are often paired down as well and tend to be noisier than a full-size unit. You also won't see they very specialized and distinct sounds you get from the circuits/components in famous compressors like the LA-2A and 1176

i love guitar pedals!

when you step out of the guitar realm with them, quality isn't particularly important. buy a bunch of cheap behringer pedals for $60 and make whacky chip sounds! or, get bored with them, bend em, and make noise :3

whammy pedals are a dream, any kind of dirt can make your lead lines less boring, eqs can help live, delays and verbs if you want to make ART, and modulation make great bass sounds imo

on another note, designing/modifying circuits for fuzz pedals is (relatively) easy, and it can be a lot of fun if you want to shoot for a really unique sound.

oh, and like TylerBarnes said, compressor guitar pedals aren't really made to do what a regular compressor does. they're technically doing the same thing, but the pedals are really more of a tone-shaping device than a production tool, and they don't make much sense outside of the guitar playing.

ableton!

oh, and sweet, wonderful soundflower (does that count?)

yikes! :0

you've used a portable television, a behringer multicom!? quite the list haha

on another note, can anybody tell if the VT-3 has an external in for the vocoder? I watched the video but I can't tell if it's just an autotune machine or actually a vocoder

a few videos from a livestream show!

This isn't a hard rule or anything, but I would strongly recommend incorporating an EQ into your setup, and getting the sound you want beforehand. You're going to always have a difficult time using the engineer's EQ to "improve" your sound in electronic music. He should be EQing to compensate for how the venue's system distorts your original sound. This could also give you a reference if you wanted to compare a direct headphone monitor to the venue monitor sound if you felt there was a problem.

As for describing the chipmusic sound to an engineer, I think the term "dance music" can really go a long way. Even your most traditional engineers will typically know what this means, and that reference means a lot to somebody totally unfamiliar with chip. If your kick isnt present enough, boost around 80-150 Hz, and if the problem is a more general lack of bass make the boost smaller and wider. If the mix sounds "dull", consider a subtle, very wide cut centered around 400 Hz combined with a wide boost in the 3k - 5k range. Ultimately, your material is going to sound different than anybody else's and the trick is to experiment until you have your own specific guidelines.

good luck with your shows!