Becos CIQ-2 COMPIQ MINI PRO COMPRESSOR Руководство
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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
Threshold: ‐40dB to +10dB
Gain: ‐6dB to +20dB
0dB input reference level: ‐20dBu (77.5mV)
THD: <0.1% 1kHz, 0dBu in/out, 600Ω load, 24KHz BW, 12VDC power,
through 6th harmonic
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: < 25mAh
Product Size: Length: 39mm, Depth: 92mm, Height: 51mm
Product Weight: 166 gr.
Packed Weight: 186 gr.
ADVICE, WARNING & CAUTIONS
‐ Read this manual and keep it handy.
‐ 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 choosing 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.
EFFECT CONTROLS
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.
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.
THRESHOLD ‐ This control sets the signal level after which
compression is applied. Compression is only applied 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 unnecessary, which, in turn, reduces
amplification noise at the output. Because of the 50dB threshold
range, CompIQ can accommodate 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.
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.
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. When the trimmer is set in the middle, the mix is
50‐50. Such a setting washes out a lot of compression feel, and
make‐up gain must be dialed in to preserve the dynamic processing
feeling. The dry signal is a perfect replication of the input signal.
When set to 100% dry, CompIQ MINI acts like a buffer.
SOFT/HARD COMPRESSION KNEE ‐ Rarely available in compression
pedals, this control multiplies the compression flavors that can be
achieved. The Hard Knee compression is evident and the ear will
perceive the dynamic processing easily. Once signal gets above
threshold, compression kicks in with a sharp corner, and with higher
compression ratios it makes the limiting effect obvious ‐ a desirable
setting for chic'n'pickin or country playing style. With lower ratios, it