Becos CIQ-5 Handbuch

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CIQ‐5 COMPIQ PRO STELLA COMPRESSOR PEDAL

MANUAL

Last modified: September 4, 2020

SPECIFICATIONS

Input impedance: > 1MΩ

Output Impedance: ~100Ω

0dB input reference 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, 12mm long

Power Consumption: < 29mAh

Product Size: Length: 61mm, Depth: 120mm, Height: 51mm

Product Weight: 227 gr.

Packed Weight: 335 gr.

Packed Shipping Weight (one unit): 491 gr.

INTRODUCTION

Thank you for choosing CIQ‐5 CompIQ PRO Stella Compressor as

your audio dynamic processing tool for your instrument. The Stella

Compressor is an all analog studio‐grade compressor pedal featuring

full manual controls and characteristics rarely (if ever) found on

pedals of this size. Designed and hand built in our own micro‐lab, the

CompIQ Stella is a one‐of‐a‐kind effect pedal built around a high

performance THAT Analog Engine®, which ensures very transparent,

high‐quality audio processing, without altering instrument's tone.

EFFECT CONTROLS

FOOTSWITCH ‐ When engaged, the switch routes the audio signal

through active circuitry and the Power LED (which is the 0dB

compression LED) 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.

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 implies no compression

is applied) and up to Infinite:1. At 9'clock, the control corresponds to

a 2:1 ratio ‐ a mild, musical and very useful compression, which

delicately evens out signal level hikes. At 12'clock it corresponds to a

4:1 ratio ‐ usually set when more compression feel is desirable, like

when playing arpeggiated chords. At 3'clock it corresponds to a 10:1

ratio ‐ a rather aggressive compression, which may be desirable

when note sustain is needed. Passing over the 20dB amount of

compression, the reduction in amplitude tends to behave like the

Inf:1 ratio. This corresponds to a Limiting effect. When used as a

limiter, use Threshold control to set the level after which compressor

will operate, and set Ratio above 10:1. Keep in mind that the more

compression is employed, the more make‐up gain is required,

which results in a common increment in noise.

THRESHOLD ‐ This control sets the signal level after which

compression is applied. Compression is only applied to the portion

of the signal that goes above the threshold. Set very low in the

range, it makes compression kick in quickly, even for short amplitude

input signals. Set higher in the range, it lets a good portion of the

signal untouched. This is a very important control. It enables the

compression to hit only higher strokes of a signal while leaving the

meat and bone of audio intact. This also translates into greater

sound transparency and a rise in output level, making any make‐up

gain (or mixing Dry/Wet signals) entirely unnecessary. This, in turn,

lessens the amplification noise at the output. With the 50dB range of

thresholds, CompIQ Stella can accommodate a wide assortment of

audio signals from many electric instruments, not only guitar or bass.

With a suitable preamp, it may be utilized even with vocal or

instrument microphones. When the Threshold is set higher, CompIQ

Stella can also be used with line‐level signals.

TIMING SWITCH ‐ The switch has three positions: Manual, Auto

Fast, and Auto Slower. In Manual (M) position, attack & release

times are set through Attack and Release controls. In Auto Fast (F)

and Auto Slower (S) positions, you activate the Auto Adjusting

Dynamic Timing circuit, which adjusts Attack & Release timings to

playing dynamics. Short percussive transients are handled with

smaller times, while constant signals benefit from longer times. Auto

Fast timings are generally 5‐7ms for the attack, 70ms for release.

Auto Slower timings are about 10‐15ms for attack and 100‐220ms

for release time.

ATTACK & RELEASE ‐ When Timing Switch is in the upward Manual

(M) position, the controls set the attack and release times of

compression. Attack sets the time needed to reach the highest level

of compression (set by Ratio control) after the audio signal crosses

above the set threshold. While the signal is above the threshold,

compression is withholding. When signal reverts back below the

threshold level, compression is gradually released. Release control

sets the time needed for the compressed signal to return down to

the input level. The controls scale show milliseconds per decibel of

compression. These are not fixed times, but dependant on the

amount of compression set by Ratio control and the level of input

signal.

MAKE‐UP GAIN ‐ Because compression means dropping output

signal, recovery gain is needed to even output with input level. The

more compression is employed (higher compression ratio), the

more recovery gain has to be turned in to compensate. Be

conscious that at higher compression ratios, the recovery circuit

must re‐amplify a very low signal and with amplification, noise is

added. To overcome this, we strongly advise using Threshold or

setting moderate compression Ratios and additionally use Soft

Knee. Conclusively, blend in some dry signal with the Mix control.

X‐EQ ‐ This controls a gentle equalization circuit inspired by the Hi‐Fi

electronics period of the 70's. Turned fully counterclockwise, it

increases lower frequencies (+6db) while proportionally attenuating

higher frequencies (‐6dB) around the chosen Frequency Pivot.

Turned fully clockwise, the opposite will occur. When set to noon,

lows and highs resemble input signal (no equalization). An internal

Jumper (EQ/BYP) can bypass the circuit.

EQ PIVOT SWITCH ‐ This switch chooses the EQ Frequency Pivot for

the X‐EQ control. In High (H) position, pivot frequency is set around

1 KHz ‐ best suited for guitar. In the Low (L) position, the pivot is set

at around 330Hz, which is proper for bass. EQ's action around the

pivot is not sharp, but gentle and progressive, rising towards the

ends of the spectrum.

SOFT/HARD COMPRESSION KNEE ‐ The Hard Knee compression is

obvious and the ear will notice the dynamic processing clearly. Once