Becos CIQ-2 COMPIQ MINI PRO Manual - Page 2

Browse online or download pdf Manual for Music Pedal Becos CIQ-2 COMPIQ MINI PRO. Becos CIQ-2 COMPIQ MINI PRO 2 pages. Compressor pedal
Also for Becos CIQ-2 COMPIQ MINI PRO: Manual (2 pages)

Print Page

AUTO TIMING – The CompIQ line of compressors incorporates an

Auto Timing Circuit designed to dynamically respond to playing

dynamics. This circuit adapts to short, percussive transients by

employing faster timings, whereas longer, sustained signals retain the

release until the signal level drops below the preset threshold. The

Timing switch offers a choice between Fast or Slower attack & release

times. Auto Slower timings generally range between approximately

10-15ms for attack and 100-220ms for release. Conversely, Auto

Faster timings typically operate at around 5-7ms for attack and 70ms

for release. Attack time refers to the duration taken for the maximum

compression ratio to attain the set level after the signal surpasses the

threshold. Release time denotes the duration it takes for the

compression to bring the signal back below the threshold.

Compression persists as long as the signal remains above the

threshold.

SIDE CHAIN FEED – The FEED switch determines the compressor's side

chain topology, allowing for either Feed Forward (FF) or Feed-Back

(FB) types of compression. Some FB and milder FF compression

settings may produce similar audible results, where the compression

effect sounds alike in both modes. However, FB compression focuses

more on 'feel' than 'precision,' offering a smoother, less obvious, more

airy, and less punchy compression. In FB mode, the Knee selection is

less distinct compared to FF compression, where the Hard Knee effect

is more pronounced. FB compression might not be suitable for limiting

purposes. Employing a slower timing (plus Soft Knee) further enhances

the smoothness of FB compression. It's important to note that when

maximum Gain is applied in FB mode, small signals such as buzz, hum,

or electromagnetic fields captured by instrument pickups and/or

cables might trigger compression due to the RMS detector receiving a

make-up gain-amplified signal. This triggering can occur easier when

the Side Chain Filter boosts the low frequencies of the control signal,

especially when set for maximum boost (fully CCW). To reduce the

sensitivity of the FB side chain, consider lowering the Gain and/or

Ratio, raising the Threshold to a higher level, using slower timing

and/or Soft Knee, adjusting lows with the SCF, or employing a

combination of these techniques.

SIDE CHAIN FILTER – The Side Chain Filter circuit is 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 1kHz.

For these, a gradual compensation takes place due to their

comparatively lower amplitudes within the audio spectrum. This

compensation is usually employed in high-end studio compressors and

it aims to linearize the triggering energy of the working signal,

resulting in a more natural compression feel, irrespective of the side

chain filter configuration. The default "Normal" side chain setting is

achieved at the noon position of the trimmer. When turned fully

counterclockwise (CCW), the side chain amplifies the lows via a

musical first-order Low-Pass Filter (+12dB@90Hz, 12dB/oct). This

heightened sensitivity to amplified low frequencies can benefit thin-

sounding single coils or intensify the smoother FB compression at the

output. In FF compression, it enhances sensitivity to low frequencies,

beneficial for limiting purposes or for using compression as an audible

effect, effectively reducing the Threshold level. Conversely, when the

trimmer is fully clockwise (CW), the side chain gradually diminishes the

low frequencies using a first-order High-Pass Filter (-12dB@90Hz,

12dB/oct). Consequently, the compressor becomes less responsive to

these filtered lows. As a result, these frequencies experience reduced

compression at the output, thereby being made louder by the Make-

Up Gain. In summary, amplifying lows in the side chain leads to

increased compression of lows at the output, affecting the entire

signal. Conversely, cutting lows in the side chain results in less

compressed lows at the output, rendering them louder and fuller.

DRY/WET MIX – This control functions like an audio mixer, allowing

you to combine the clean input signal with the compressed signal. This

feature proves beneficial in restoring transients or certain frequencies

that might seem less perceptible to the ear when they're compressed

to a lower level. When the trimmer is set to the midpoint, the mix

achieves a 50-50 balance between the dry and wet signals. As you turn

the control clockwise (CW), more of the dry signal gets integrated with

the wet. When the trimmer is set completely clockwise (fully CW), the

MINI operates as a buffer, passing solely the dry signal.

COMPRESSION DISPLAY – The compression display features a 5-LED

gain reduction indicator that derives data from the RMS-level sensor,

offering visual feedback on the extent of compression applied to

signals surpassing the set threshold. Even with low to moderate

Ratios, elevated input levels above the threshold can cause the display

to peak in Yellow and Red. The presence of Red on the display doesn't

signify any issue. It just indicates that you are using a lot of

compression. This occurrence might be frequent, particularly when

high peaks are present in the input signal, plus a lower Threshold, and

higher Ratio are combined. It's best to rely on your ears to achieve the

desired compression effect and use the visual indicator as guidance for

the amount of compression applied.

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 send the compressed signal to the next

effect pedal, an amplifier's input, or the RETURN FX-loop of an

amplifier. The output signal can also be recorded directly on Hi/Low

impedance interface inputs, including line level inputs. When the

pedal is not engaged (or powered), it operates in True Bypass mode.

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.

CIQ-2 COMPIQ MINI PRO COMPRESSOR PEDAL

FOR GUITAR & BASS

MANUAL

Last modified: December 17, 2023

Thank you for using BECOS products!

Hand built in Vienna, Austria, EU

becosfx.com