CIQ‐1 COMPIQ MINI ONE PRO COMPRESSOR PEDAL
FOR GUITAR & BASS
MANUAL
Last modified: April 10, 2020
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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.
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 ONE acts like a buffer.
6.
COMPRESSION KNEE
– The fixed
Hard Knee
compression type is
stronger and more evident as the ratio is increased. The ear will
perceive its dynamic processing easily. Once signal gets above
threshold, compression kicks in with a sharper corner, and with
higher compression ratios it makes the limiting effect obvious ‐ a
desirable setting for chick'n'pickin or country playing style. With
lower ratios, it provides a good and musical compression effect.
Use the Mix trimmer to blend in some dry signal for a fine effect
balancing.
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 reference 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 reference 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 DYNAMIC TIMING ‐
Any dynamic signal processing
requires a precise timing of the
Attack
and
Release
of the effect.
CompIQ MINI One 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
dynamically to your playing and is very fast in changing these
timings. Attack and Release timings are applied softly, 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!
The
Timings
are approximately 10‐15ms
for attack time and 200‐220ms for release time. 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.
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 the Dynamic Timing, makes this tiny
little pedal a mighty weapon of dynamic processing. You will simply
not going to 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 acoustic guitars, violins, cellos, or brass
instruments like trumpets.
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.
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.
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.
LAST WORD
