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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.