Such a setting washes out a lot of compression feel, and make-
up gain must be dialed in quite a bit, to preserve the dynamic
processing feeling. As always, you compromise transparency for
a bit of noise in compression, but that is less noticeable in a mix,
because dry signal is not amplified. The dry signal alone is a
perfect replication of the input signal. When set to 100% dry,
CompIQ MINI acts like a buffer.
6.
SOFT/HARD COMPRESSION KNEE
- Rarely available in
compression pedals, this control multiplies the compression
flavors that can be achieved. The
Hard Knee
compression is
evident and the ear will perceive the dynamic processing easely.
Once signal gets above threshold, compression kicks in with a
sharp corner, and with higher compression ratios it makes the
limiting effect obvious - a desirable setting for chic'n'pickin or
country playing style. With lower ratios, it provides a good and
musical compression effect. The
Soft Knee
compression is more
subtle and is applied progressively, with a soft corner curve. The
effect is gentle and desirable when compression doesn't have to
be obvious (lower ratios up to 4:1), or used as an audio effect.
Think of it like a mastering tool for voicing audio content. With
higher ratios (in between 4:1 and 10:1), it makes for a studio
quality compression effect. Soft Knee is also more usable when
threshold is set low, because it makes the compression more
musical. When Soft Knee is used with higher thresholds, it adds
more transparency to the sound, diluting compression feel.
7.
COMPRESSION DISPLAY
- A 5-LED display takes precise
information from the RMS-level sensor and compiles a visual
feedback for the amount of compression applied to input signal
that goes above the threshold.
The visual indication is calibrated
for -20dBu (77.5mV) input referrence signal level, suitable to a
wide range of electric instrument pickups.
The display is very
precise, but is also totally related to input audio signal level,
which is highly dynamic by nature and may vary wildly from
calibrated referrence when using different sources. Even at low
to mid Ratios, if audio input level is higher, the display can peak
Yellow or Red color.
Red color does not indicate anything
wrong!
This may happen frequently if you have high input signal
levels, lower Threshold and higher Ratio.
Use only your ear to
attain the desired compression effect!
8.
AUTO ADJUSTING DINAMIC TIMING -
Any dynamic processing
requires a precise timing of the
Attack
and
Release
of the effect.
CompIQ uses a responsive
Auto Adjusting Timing Circuit
, which
adapts to
playing dynamics
. Short and percussive transients are
handled with faster timings, while longer, steady signals, benefit
from slower timings. The circuit responds dinamically to your
playing and is very fast in changing these timings. Attack and
Release timings are applied with softness, which makes this kind
of processing very musical.
A manual set of Attack and Release
would hardly match the quality of auto timing of this circuit!
On
top of that, the
Timing Switch
allow you to chose from
Fast
or
Slower
attack & release times.
Slower Timings
position are
approximately 10-15ms for attack time and 100-220ms for
release time.
Faster
timings are approximately 5-7ms for attack,
70ms for release. Attack time means the time it takes for the
maximum compression to reach the set amount. Release time
means the time it takes for the compression to return to normal
(input) audio level.
9.
INPUT -
Here you will connect either an instrument directly, or
the output of another effect or even a microphone preamp, or a
signal taken from the amplifier's SEND FX-loop.
10.
OUTPUT
- From here you will send the compressed signal to the
next effect pedal, or an amplifier's input, or to the RETURN FX-
loop of an amplifier. Output signal can also be recorded directly
into a Hi-Z interface input. When not engaged (or powered), the
pedal is in True Bypass.
11.
DC POWER CONNECTOR
- Use only good filtered power
supplies,
with a voltage of 9-12 VDC, with center negative
polarity.
Use a DC Power Plug Ø5.1/2.1mm, with a barrel longer
than 12mm (15mm recommended).
LAST WORD
Compressors are usually placed right after an instrument, first in the
signal chain. This is an arbitrary convention. Its placement depends
on what you're trying to achieve. For instance, if a compressor is set
last in the FX loop of an amplifier, it may act like a mastering tool.
The combination of Ratio, Threshold, Make-up Gain and Dry/Wet
Mix manual controls along with Compression Knee and Fast/Slower
Dynamic Timings selectable options, makes this tiny little pedal a
mighty weapon of dynamic processing. You will simply not gonna
find this many features and this quality in such a pedal form factor,
anywhere. You may also use it with vocals or other stringed
instruments like accoustic guitars, violins, celos, or brass instruments
like trumpets.
CompIQ MINI Pro Compressor is fitted with a quiet high quality FET
dual op-amp. We set it in a socket, so you can easily experiment with
other equivalent components. We recommend using IC's like TL072,
NE5532, OPA2134, OP1642, OPA2604.
CIQ-2 COMPIQ MINI PRO COMPRESSOR PEDAL
FOR GUITAR & BASS
MANUAL
Version 1.1
Please check and download latest manual!
Thank you for using BECOS products!
Designed & Hand Made in Romania/EU
www.becosfx.com
