Becos CIQ-2 COMPIQ MINI PRO Manual

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CIQ-2 COMPIQ MINI PRO COMPRESSOR PEDAL

MANUAL

SPECIFICATIONS

Input impedance: > 1MΩ

Output impedance: 100Ω

Ratio: 1:1 to inf:1 in Feed Forward, 1:1 to 10:1 in Feed-Back

Threshold range: -40dBu (-55dBu with SCF lows boosted) to +10dBu

Gain: -6dB to +20dB

0dB input reference level: FF = -26dBu (50mV), FB = -28dBu (40mV)

Real THD: <0.1% 1kHz, 0dBu in/out signal into 600Ω load, 24KHz

bandwidth, through 6

harmonic, powered at 12VDC

Max Input Level: +5.5dBu

Max Output Level: +5.5dBu

Output frequency response: -2dB @ 40Hz; 0dB @ 100Hz - 22KHz

Optimal power voltage: 9-12VDC ±10% Center Negative

DC power plug: Ø 5.1/2.1mm,

12mm long Barrel

Power consumption: < 38mAh

Product size (L x W x H): 9,3 × 5 × 5,1 cm

Net weight: 165 gr.

Box weight: 210 gr.

ADVICE, WARNING & CAUTIONS

- Read this manual and keep it handy.

- Avoid direct sunlight, extreme temperatures, and dusty

environments for the pedal and batteries.

- Do not modify internal circuits or subject the pedal to physical abuse.

- Product specifications and features may change without notice,

including updates to this manual.

INTRODUCTION

Thank you for choosing the CompIQ MINI Pro Compressor for your

electric instrument and audio production needs. The MINI is an all-

analog studio-grade compressor/limiter. It features the advanced

4320 THAT Analog Engine®, incorporating a true RMS-level detector

and a high-performance Blackmer® VCA at its core. The controls

include Ratio, Threshold, Make-up Gain, Soft/Hard Compression Knee,

Fast/Slow Auto Attack & Release Timings, and a Dry/Wet Mix for

blending processed and clean signals. Additionally, it includes a Side

Chain selector for Feed Forward (FF) or Feed-Back (FB) compression.

Both modes use a variable Side Chain Filter to manage responses to

the signal's low-frequency range. The 5-LED Gain Reduction Display

indicates the dynamic processing level.

The CompIQ MINI is versatile, suitable for various electric instruments

like guitars, basses, keyboards, electric violins, cellos, etc. It also works

well with acoustic instruments such as guitars, violins, cellos, or brass

instruments like trumpets. Moreover, it can be used for voice

processing when connected to a microphone preamp. Basically, it can

be used with any audio signal source.

FOOTSWITCH – When engaged, the footswitch routes the audio signal

through the compressor, indicated by the illuminated green Power

LED. When pushed again, the signal undergoes True Bypass, directly

passing from Input to Output without alteration. The mechanical

switching generally remains silent due to its inherent asynchronous

delay in the mechanical switching, making it quieter than relay bypass

switching. However, occasional pops might occur. These depend on

other devices in the signal chain, their placement before or after the

compressor, or if switching takes place while presenting a briefly

percussive high-amplitude signal at the input.

RATIO – The ratio control sets how much the audio signal that passes

above the set threshold is going to be compressed. For Feed Forward

(FF) compression, it has a continuous range starting from 1:1 ratio (for

one unit of input signal level equals one unit of signal output level and

no compression is applied) and up to Infinite:1. At 9'clock the ratio is

2:1. At noon the ratio is 4:1 and at 3'clock it gets to 10:1 ratio, after

which a 20:1 or infinite:1 ratio is applied. In Feed-Back (FB) mode with

Fast timing and Hard Knee the compression can reach a maximum

ratio of approx. 10:1.

THRESHOLD – The threshold control sets the level at which the input

signal triggers compression, affecting only the portion that surpasses

the set threshold. Its extensive dynamic range spans from -40dBu to

+10dBu, accomodating to both instrument and line-level signals.

When set low, it triggers compression even for small input signals,

particularly noticeable in Feed-Back (FB) compression. When set

higher, it allows a significant portion of the signal to remain

unaffected. This control is highly responsive, enabling a selectable

compression on higher signal peaks while preserving the rest of the

audio. Raising the Threshold enhances sound transparency and

increases the output level, often reducing the need for additional

Make-up Gain or blending Dry/Wet signals. Consequently, this reduces

amplification noise at the output. The Threshold, in combination with

high Ratio, Fast Timing, and Hard Knee settings, proves useful for hard

limiting. Soft limiting, on the other hand, is achievable when combined

with Soft Knee and Slower Timing settings. The Threshold control's

position indirectly indicates the strength of the input signal. For line-

level signals, it tends to be set more clockwise (CW), while lower

instrument-level signals may require a counterclockwise (CCW)

adjustment. Boosting lows in the Side Chain Filter (SCF) extends the

threshold down to -55dBu, heightening the compressor's perceived

sensitivity.

MAKE-UP GAIN – Reducing the dynamic range through compression

lowers the average volume, requiring recovery gain to match the

output with the input level. Increased compression needs more

recovery gain, notably in Feed-Forward (FF) compression. Higher

compression ratios demand more amplification from the recovery

circuit, potentially introducing more noise due to increased

amplification of very low signals. However, the Make-up Gain control

serves a dual purpose. In the MINI's Feed-Back (FB) side chain

topology, it integrates into the FB side chain circuit, not solely

compensating for gain reduction but also modulating the level of the

feedback signal sent to the RMS-level detector. This feature expands

compression adjustments, sometimes requiring fine-tuning of Ratio,

Threshold, Timing, Knee, Side Chain Filter, and Mix to achieve a subtle

and desired dynamic response while balancing the compressor's

average output level. Consider creative approaches: altering the

output level isn't solely achieved by amplifying with Make-Up gain.

Adjusting the Ratio, elevating the Threshold, filtering lows with the

Side Chain Filter (which amplifies lows at the output), and more can

influence the output level.

SOFT/HARD COMPRESSION KNEE – Hard Knee (H) compression is

noticeable, offering a distinct dynamic processing that's easily

perceived by the ear. When triggered, it promptly engages with higher

compression ratios, accentuating the limiting effect. At lower ratios, it

delivers a punchy yet smoother compression. Soft Knee (S) is subtler,

applying its envelope gradually along a smooth curve. Consider it as a

mastering tool for audio voicing. Soft Knee works well with lower

thresholds, enhancing the musical feel of high-ratio compression. At

higher thresholds, it introduces more transparency to the sound,

lessening the compression sensation. In FB mode, Soft Knee extends

the release time slightly, enhancing the transparency of output

processing.