SCF SWITCH
‐
Side Chain Filter
switch is only available for Lows
processing engine and has three positions:
Normal (N),
Low (L)
and
Deep (D)
. In
Normal
position, the Side Chain Filter is set to
accommodate a large range of audio signals and instruments. By
design, the side‐chain’s signal is progressively compensated from
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
and
LEVEL
controls) act on
Dry
Line
only and emulate vintage studio tape saturation compression
effect of the '60s. This is a musical sort of distortion happening when
high amplitude audio signals are recorded on magnetic tape.
Independent controls mean you can introduce different levels of
saturation on each band, as separated by the Crossover.
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 will complement very well guitar and
bass sound. The
Lows Saturation
is more applied to harmonics and
less to the fundamental frequencies, to prevent chocking or
fuzziness with bass instruments. For a more prominent effect, the
Crossover must be set higher in the range, around 3’clock, so more
of the Lows saturation is heard. The
Highs Saturation
is more
obvious in its effect. Saturation controls act from clean (fully
counterclockwise) up to a mild overdrive (fully clockwise). In
between, a palette of colorful and musical warming distortions is
available.
TIP – Increase the overall Dry Line Saturation (Lows &
Highs), subtly mix it with the Wet Line and then add a splash of
chorus effect at the output; enjoy!
On each band of the Dry Line
there are
Low &
High CUT
filters and
Low & High LEVEL
controls, to
perfectly trim
the Saturation
effect. The CUT filters (‐6dB) are
passive first‐order filters, for a very gentle contribution, and the
boost LEVELS are active (+9dB), again, with a very gentle slope. With
saturation increased on each band, a drop in volume will happen for
the Dry Line. Use
Level
controls on each band to compensate.
TIP –
Leaving out the Saturation (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 more precisely 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 alone is very
helpful for tightening up the bass by removing very low frequency
that usually add boomines to 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 (and overlapping) point, and that also affects
saturation, so the Crossover and Saturation controls are interactive.
COMPRESSION DISPLAY
– Available on each band, the
5‐LED Gain
Reduction display
takes accurate information from the Lows & Highs
RMS‐level sensors and compiles visual feedback over compression.
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!
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, even when the pedal is not
powered.
INPUT ‐
Here you will connect either an instrument directly or the
output of another pedal, or a signal taken from the amplifier's SEND
FX‐loop.
OUTPUT
‐ From here you will send the compressed 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.
DC POWER CONNECTOR
‐ Use only good filtered power supplies,
with a voltage of 9‐12 VDC, center negative.
Use a DC Power Plug
Ø5.1/2.1mm, with a barrel longer than 12mm (15mm
recommended).
CIQT‐1 COMPIQ TWAIN PRO COMPRESSOR PEDAL
FOR BASS & GUITAR
MANUAL
last modified: February 12, 2020
Please check and download the latest manual!
Thank you for using the BECOS products!
Designed & Hand Made in Romania/EU
www.becosfx.com
