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the signal gets over the threshold, compression kicks in with a sharp
corner, and with higher compression ratios it makes the limiting
effect clear. With lower ratios, it provides a good and musical
compression effect. The Soft Knee is subtle and compression is
applied progressively, with a soft corner curve. The effect is gentle
and desirable when compression doesn't have to be explicit or used
as an audio effect. Think of it as a mastering tool for voicing audio
content. With higher ratios (4:1 to 10:1), it makes for a studio quality
compression effect. When Soft Knee is used with higher thresholds,
it adds more transparency to the sound, diluting compression feel.
SCF SWITCH ‐ Side Chain Filter switch has three positions: Normal
(N), Low (L) and Deep (D). In Normal position, the Side Chain Filter is
set to accommodate a large range of audio signals and instruments.
By design, it has an attenuation of lower frequencies below 1KHz,
which allows the compressor to act with a short delay and let lower
frequencies pass through without triggering the compression right
away. This setting renders a natural response that is suitable for
most cases. In Low (L) position, more of the lower end frequency (an
additional ‐12dB@90Hz) is freed up to prevent triggering compressor
kicking in too early. This is an intermediary position, and it lets more
of the low end pass through at the output, while also lowering the
amount of compression; which is also dependant on the input signal
level. This is a proper setting for guitar and bass if a fuller sound is
needed. In the Deep (D) position, even more of the frequency
spectrum is freed up (‐12dB@200Hz). This setting may be fine for
guitar.
DRY/WET MIX ‐ This control acts like an audio mixer, where you can
blend input clean signal with output compressed signals. This helps
restore transients or squished frequencies which are less perceived
by ear when reduced to a lower level by compression. In the middle,
the mix is 50‐50. Such a setting washes out a lot of compression feel.
The dry signal is a replication of the input signal. When set to 100%
dry, CompIQ PRO acts like a buffer. An analog Tape Saturation effect
can be applied to Dry Line.
TAPE SATURATION ‐ SAT control acts on Dry Line only and emulates
vintage studio tape saturation compression effect of the '60s ‐ which
is basically a musical sort of distortion happening when high
amplitude audio signals are recorded on magnetic tape. It acts from
clean (counterclockwise) and up to full saturation distortion (fully
clockwise), where it resembles a very warm sounding mild overdrive
effect. In between, you have an entire palette of colorful and musical
distortions. The intent of this analog circuit is to saturate the Dry
Line and then mix it with the Compressed Line, to fatten up the
compressed sound with harmonic distortions, which will
complement very well guitar and bass sound. TIP: increase Dry Line
Saturation, subtly mix it with the Compressed Line and then add a
splash of chorus effect at the output; enjoy! Two additional Internal
Jumpers perform Low Cut and High Cut filters on Dry Line, to
perfectly trim the Tape Saturation effect. If filters are not used
(Jumpers On), the saturation is applied to the whole audio spectrum,
but it will first happen to higher amplitude low frequencies. If
Saturation control is increased, all frequency spectrum will
eventually clip in distortion and a drop in volume will happen. Use
Level control to compensate. The Low & High Cut Filters are useful
when lows seem too saturated (for bass instrument and humbucker
guitar pickups) and may result in a fuzzy sound, or when too many
highs in audio content may seem too brittle. We recommend
activating the Low Cut Filter at all times by taking off the
corresponding Jumper unless the Tape Saturation effect is not to be
used at all and only a blend of compressed and dry sound is needed.
If both Low & High Cut Filters are enabled (Jumpers Off), only the
mids & high‐mids are affected and at maximum saturation, the
sound will resemble a tube screamer overdrive. You may like that! It
means you have overdrive and a compressor in a box, which can be
mixed together. TIP: use Dry/Wet Mix, Tape Saturation and Level
controls altogether, if you want to perfectly dose a subtle clipping
effect to a natural compression sound.
LEVEL ‐ Use this control to compensate for the reduction in volume
that happens when increasing the Tape Saturation effect. With a
minimum saturation set, this control acts as a volume boost for the
Dry Line.
COMPRESSION DISPLAY ‐ A 8‐LED display takes information from
the RMS‐level sensor and compiles visual feedback for the amount of
compression applied to the input signal. The display is calibrated for
‐20dBu (77.5mV) reference input level, proper for electric
instrument pickups. The display response is dynamic by nature and
fluctuates from calibrated reference. Even at low to mid Ratios, with
high input leveler, it can peak Yellow or Red color. The Red color
does not mean anything wrong! This may occur regularly with high
input signal levels, lower Threshold, and higher Ratio. Use only your
ear to achieve the desired compression effect!
INPUT ‐ Here you will connect either an instrument directly or the
output of another pedal or a signal taken from the amplifier's SEND
FX‐loop.
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. The output signal can also be recorded directly into a Hi‐Z
interface input.
DC POWER CONNECTOR ‐ Use only good filtered and regulated
power supplies, with a voltage of 9‐12 VDC, center negative. DC
Power Plug Ø5.1/2.1mm, 12mm long barrel.
CIQ‐5 COMPIQ PRO STELLA COMPRESSOR PEDAL
FOR GUITAR & BASS
MANUAL
Last modified: September 4, 2020
Please check and download the latest manual!
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