CIQT‐1 COMPIQ TWAIN DUAL‐BAND / STACKED
PRO COMPRESSOR PEDAL
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Designed & Hand Made in Romania/EU
OPERATION MANUAL
last modified: February 14, 2021
highs to lows to balance the triggering potential of different signal
amplitudes at different frequencies. This setting renders a natural
response that is suitable for most instances. In
Low
(L) position, an
additional
‐12dB@90Hz
is freed up to prevent triggering the
compressor too early. This is an intermediary position, and it lets
more of the low end pass through at the output, while also lowering
the amount of compression.
TIP – This is a proper setting for bass or
guitar, when a fuller sound is needed.
In the
Deep
(D) position, even
more of the lower frequency spectrum is freed with
‐12dB@200Hz
.
TIP – This setting is proper to prevent 5‐stringed basses from
triggering compression too early.
DRY/WET MIX
– This control acts like an audio mixer, where you can
blend the clean signal with the compressed signal (a.k.a. the New
York compression style). This helps restore transients or squished
frequencies which are less perceived by ear when they are reduced
by compression. In the middle, the mix is 50‐50.
TIP – The
independent Cut filters and boost Levels from Saturation circuit act
like a Tilt‐EQ on the Dry Line. That means you can mix more or less
Dry Lows or Dry Highs over the Wet signal.
TAPE SATURATION
– Available in both engines, the
SAT
independent
controls (including the auxiliary
CUT
filter and
LEVEL
) act on
Dry Line
only and emulate vintage studio tape saturation compression effect
of the '60s. The intent of this analog circuit is to saturate the
Dry
Line
and then mix it with the
Compressed Line,
to fatten up the
compressed sound with harmonic distortions, which may
complement guitar and bass sound.
The
Lows Saturation
is more applied to note’s higher harmonics and
less to the fundamentals, to prevent chocking or fuzziness with bass
instruments. The
Highs Saturation
effect is more audible, and is
actually better suited for a musical response. Saturation controls act
from clean (fully counterclockwise) up to a mild overdrive (fully
clockwise). On each band of the Dry Line there are
Low &
High CUT
filters and
Low & High LEVEL
controls, to aid in balancing the
Saturation effect. The CUT filters are ‐9dB/octave passive first‐order
filters. The boost LEVELS add up to +9dB of gain to each band. With
saturation increased, the Dry Line’s volume will drop lightly. Use
Level
controls on each band to compensate.
TIP –
Leaving out the
Saturation with knobs fully counterclockwise on both bands, the
CUT filters and LEVEL boosts of each band act like a Tilt‐EQ on the
Dry Line, meaning you can mix more or less Dry Lows or Dry Highs
with the Wet Line!
This is a very powerful feature which can
selectively restore the energy and clarity of the original signal, by
blending in only what is missing as a result of compression. With
balanced levels, a flat Dry signal can be mixed over the Wet Line as
well.
TIP ‐ The CUT filter on the Dry Lows can help tightening the
bass by attenuating the boomines in the sound. This filter is more
effective when the Crossover is set towards 3’clock at around
500Hz, or above.
By its nature, each of the Crossover’s bands is also
filtered at the intersecting point, and that also affects saturation, so
the Crossover and Saturation controls are interactive.
NOTE –
Saturation effect may feel different on each string on the
instrument and is largely dependant on how the Crossover is set.
Highs saturate more musically than Lows. Guitar signal responds
better to saturation than bass.
COMPRESSION DISPLAY
– Available on each band, the
6‐LED Gain
Reduction display
takes accurate information from the RMS‐level
sensors. Separate displays help visualize the compression effect very
precisely, especially in the Dual‐Band mode, where different
compression can be applied to notes on different strings on the
instrument. The displays are calibrated for ‐20dBu (77.5mVrms)
reference input level and their response is dynamic by nature. Even
at low to mid ratios and with higher input levels or lower thresholds,
they can peak Yellow or Red color quite often. That doesn’t mean
anything is wrong. Use only your ear to achieve your desired
compression effect!
NOTE – The display is most accurate for its
markings when pedal is powered in between 9‐12VDC. When
powered at 18VDC it may deviate down the scale with ‐3dB.
DC POWER
‐ Use only good filtered power supplies,
within a voltage
range of 9‐18 VDC, center negative. Use 9‐12VDC unless large
amplitude signals must be accommodated, in which case maximum
18VDC power supply ensures more headroom.
Use a DC Power Plug
Ø5.1/2.1mm, 12mm long barrel.
INPUT & OUTPUT –
On the input TS connector you may connect
either an instrument directly, or the output of another pedal, or a
signal taken from the amplifier's SEND FX‐loop. The Output TS
connector sends the processed signal to the next effect pedal, or to
an amplifier's input, or to the RETURN FX‐loop of an amplifier. The
output signal can also be recorded directly into a Hi‐Z interface
input.
FOOTSWITCH ‐
When engaged, the audio signal is routed through
the active circuitry and the power LED marked
COMP
is lit Green.
When pushed again, the signal is routed
True Bypass
from Input to
Output, leaving the audio intact.
MORE INFO –
Read the CompIQ 101 for more info.
