Becos CIQ-2 COMPIQ MINI PRO Manual - Page 2
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Print PageDRY/WET MIX ‐ This control acts like an audio mixer where you can
blend clean signal from the input with the compressed signal and pass
this to the output of the compressor. This helps to restore transients
or some squished frequencies which are less perceived by ear when
they are reduced to a lower level after compression. With the trimmer
set in the middle the mix is 50‐50. Fully CCW, the signal at the output
is fully wet (compressed). The more you turn the control CW the more
of the dry signal is blended in with the wet. When the trimmer is set
fully CW the MINI acts like a buffer passing only dry signal.
SOFT/HARD COMPRESSION KNEE – The Hard Knee (H) compression is
evident and the ear will perceive the dynamic processing easily. Once
triggered, the compression kicks in with a sharply and with higher
compression ratios it makes the limiting effect obvious. With lower
ratios, it provides a punchy yet smoother compression effect. The Soft
Knee (S) is subtler and its envelope is progressively applied following a
smooth curve. Think of it like a mastering tool for voicing audio
content. Soft Knee is also more usable when threshold is set low,
because it makes the high‐ratio compression feel more musical. When
Soft Knee is used with higher thresholds, it adds more transparency to
the sound, diluting the compression feel. Also, on FB mode of
compression, the Soft Knee makes the release time a bit longer and
the output processing becomes even more transparent.
SIDE CHAIN FILTER – The Side Chain Filter is designed as a variable
Low/Normal/High‐Pass Filter and acts in the side chain for both FF and
FB compression modes. The control signal which is a copy of the input
signal is sent to the RMS‐level detector with most of its frequencies
not altered – except for the top‐mid end and the highs above it, which
are progressively trimmed up to compensate for their lower amplitude
when compared with the rest of the audio down the range. This
"linearizes" the potential triggering energy of the audio spectrum and
makes the compressor feel more natural. This compensation is
permanent, regardless of the variable filter setting. The "Normal" side
chain setting is with the trimmer set at noon. When turned fully CCW,
the lows in the side chain are progressively amplified using a musical
first order Low‐Pass Filter (+12dB@90Hz, 12dB/oct) which make the
compressor more sensitive to those amplified low frequencies. This
feature can be especially helpful for thin‐sounding single coils or
maybe when the normally smoother FB compression needs to be
more accentuated at the output. In FF compression it will make the
compressor very sensitive to low frequencies and that can be useful
for limiting purposes or when the compression processing is used as
an audible effect. Seen in a different way, this setting lowers the
actual Threshold level, making the compressor more sensitive. With
the trimmer set fully CW, the opposite occurs. The low frequencies in
the side chain are progressively cut using also a first order High‐Pass
Filter (‐12dB@90Hz, 12dB/oct), and now the compressor becomes less
responsive to the filtered low frequencies. As a result, those same
frequencies are less compressed at the output of the compressor and
made louder by the Make‐Up Gain. To conclude, when lows in the side
chain are amplified, the lows at the output are more compressed,
along with the rest of the signal. And vice versa, when lows in the side
chain are cut, the lows at the output are less compressed, louder and
bloomier.
AUTO TIMING ‐ Our CompIQ line of compressors uses an Auto Timing
Circuit which can respond to playing dynamics. Short and percussive
transients are handled with faster timings, while longer, steady signals
are holding the release until the signal level falls bellow the set
threshold. The Timing switch allows choosing from Fast or Slower
attack & release times. Auto Slower timings position is approximately
10‐15ms for attack and 100‐220ms for release. Auto Faster timings are
approximately 5‐7ms for attack, 70ms for release. Attack time means
the time it takes for the maximum compression ratio to reach the set
amount after signal passes above the threshold. Release time means
the time it takes for the compression to return the signal back below
the set threshold. The compression is hold while signal stays above the
set threshold.
COMPRESSION DISPLAY ‐ A 5‐LED gain reduction display takes
information from the RMS‐level sensor and compiles a visual feedback
for the amount of compression applied to the input signal that goes
above the set threshold. Even at low to mid Ratios, if audio input level
is high above the threshold level, the display can peak Yellow or Red
color. Red color does not indicate anything wrong. This may happen
frequently if you have high peaks in the input signal, lower Threshold
and higher Ratio combined. You should only use your ear to attain the
desired compression effect and refer to the visual indication as
guidance on the amount of compression you are applying.
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.
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 on Hi/Low
impedance interface inputs, including line level inputs. When not
engaged (or powered), the pedal is in True Bypass.
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 12mm long Barrel.
LAST WORD
Compressors are usually placed right after the 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. There
the compressor cannot really be used as an effect and must be dialed
in cautiously to preserve the dynamic range of the musical content.
CIQ‐2 COMPIQ MINI PRO COMPRESSOR PEDAL
FOR GUITAR & BASS
MANUAL
Last modified: November 27, 2022
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