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CIQ-2 COMPIQ MINI PRO COMPRESSOR PEDAL
MANUAL
Last modified: November 18, 2018
SPECIFICATIONS
Input impedance: > 1MΩ
Output Impedance: ~100Ω
Ratio: 1:1 to inf:1
Threshold: -40dB to +10dB
Make-up gain: -20dB to +20dB
0dB input referrence level: -20dBu (77.5mV)
Output noise: -95dBV @0dBV gain
THD: 0.05% for -5dBV input signal level @ 1kHz
Output frequency response: -2dB @ 40Hz; 0dB @ 100Hz - 22KHz
Optimal Power Voltage: 9-12VDC ±10% Center Negative Barrel
DC Power Plug Barrel: Ø 5.1/2.1mm, 12-15mm long
Power Consumtion: < 25mAh
Product Size: Lenght: 39mm, Depth: 92mm, Height: 51mm
Product Weight: 163 gr.
Packed Weight: 183 gr.
ADVICE, WARNING & CAUTIONS
- Read this manual and keep it handy.
- Do not exceed 12VDC (center negative) when powering this pedal.
- Use a DC Power Plug with a barrel longer than 12mm (15mm
recommended).
- Do not place the pedal & batteries in direct sunlight, in extreme
temperature and humidity conditions, or in dusty environment.
- Do not make modifications to the circuit and do not install the
pedal in any other way except as described in this manual.
- As we struggle to improve ourselves and our products, we may
change products specifications, design, and features without notice.
Likewise, this manual may be changed or modified without notice so
we advise you to download it from the website before using the
product.
INTRODUCTION
Thank you for chosing CompIQ MINI Pro Compressor as your audio
dynamic processing tool for your instrument.
CIQ-2 CompIQ MINI
is an all analog studio grade compressor
featuring
Ratio
,
Threshold
,
Make-up Gain
manual controls,
Soft/Hard Compression Knee
selector,
Auto Adaptive Attack &
Release
timings which respond to playing dynamics, and
Dry/Wet
Mix
control for a perfect blend of processed and clean signal. A true
RMS-level detector
constantly measures input signal and applies
accurate compression through a transparent sounding,
high
performance Blackmer® VCA
. The exact amount of compression is
indicated by a
5-LED display
.
This compression circuit was designed with guitar and bass in mind,
but make no mistake, it can add warmth and dynamic feeling to
any audio signal, including string instruments, harmonica, brass
instruments, even vocals - with an appropriate preamp.
EFFECT CONTROLS
1.
FOOTSWITCH -
When engaged, the switch routes the audio
signal through the circuitry, and Power LED is lit Green. When
pushed again, the signal is routed in
True Bypass
from Input to
Output, leaving the audio untouched. This routing is still
available even when pedal is not powered.
2.
RATIO
- This control sets how much the audio signal is going to
be compressed, after it passes above the set threshold. It has a
continuous range starting from
1:1
(for one unit of input signal
level you get one unit of signal output level; which means no
compression is applied) and up to
Infinite:1
. At
9'clock
, the
control corresponds to
2:1 ratio
- a mild, musical and very useful
compression, which delicately evens out signal level jumps. At
12'clock
it corresponds to
4:1 ratio
- usually set when more
compression feel is desirable, like when playing arpegiated
chords. At
3'clock
it corresponds to
10:1 ratio
- a rather
aggressive compression, which may be desirable when note
sustain is needed, or a country style music is played. After 20dB
amount of compression, the amplitude reduction tends to
behave like Inf:1 ratio, which corresponds to
Limiting effect
.
When used as limiter, use Threshold control to set the level after
which compressor will act like a limiter, and set Ratio above 10:1.
Keep in mind that the more compression is applied, the more
make-up gain is needed, which results in a normal increase of
noise.
3.
THRESHOLD
- This control sets the signal level after which
compression is applied.
Compression is only aplied to the
portion of signal that goes above the threshold.
Set very low, it
makes the compression kick in immediately even for small input
signals. Set higher, it lets a good portion of the signal untouched.
This is a very powerful control,
because it allows the
compression to affect only higher strokes of signal, while leaving
the meat and bone of audio untouched. This also translates into
a greater sound transparency and an increase in output level,
making some make-up gain (or mixing Dry/Wet signals) totally
unncecessary, which, in turn, reduces amplification noise at the
output. Because of the 50dB threshold range, CompIQ can
accomodate a wide range of audio signals from electric
instruments. With an appropriate preamp, it may be used even
with vocal or instrument microphones. When Threshold is set
higher, CompIQ can be used with studio line level signal.
4.
MAKE-UP GAIN
- Because compression means lowering the
output signal, some recovery gain is needed, to match output
with input level.
The more compression is applied
(higher
compression ratio),
the more recovery gain has to be dialed in
to compensate.
Be aware of the fact that at higher compression
ratios, the recovery circuit must re-amplify a very low signal and
with amplification, more noise is introduced.
To overcome this,
we strongly advise using Threshold, setting lower compression
Ratios.
Ultimately, blend in some dry signal with the Mix control.
However, it makes no sense to over compress a signal at low
thresholds just to recover its gain afterward, and increase
output noise resulted from amplification.
5.
DRY/WET MIX
- This control acts like an audio mixer, where you
can blend input clean signal with the output compressed signal.
This helps restore some transients or some squished frequencies
which are less perceived by ear, because they are reduced to
lower level, after compression. In the middle, the mix is 50-50.
