Becos CIQ-2 CompIQ MINI Pro Compressor User 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
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


CIQ‐2COMPIQMINIPROCOMPRESSORPEDAL
FORGUITAR&BASS
Designed&HandMadeinRomania/EU
ThankyouforusingBECOSproducts!
MANUAL
Lastmodified:May2,2021
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www.becosfx.com
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providesagoodandmusicalcompressioneffect.TheSoft Knee
compressionismoresubtleandisappliedprogressively,withasoft
corner curve. The effect is gentle and desirable when compression
doesn't have to be obvious (lower ratios up to 4:1), or used asan
audio effect. Think of it like a mastering tool for voicing audio
content.Withhigherratios(inbetween4:1and10:1),itmakesfora
studio quality compression effect. Soft Knee is also more usable
whenthresholdissetlow,becauseitmakesthecompressionmore
musical.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twopositions:Normal(N),
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 1 KHz,
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Deep(D)position,moreofthelowerendfrequency
(an additional ‐12dB@130Hz) is freed up to prevent triggering
compressorkickingintooearly.Thissettingletsmoreofthelowend
pass through at the output, while also lowering the amount of
compression.Thisisapropersettingforguitarifafullersound is
neededandespeciallyforbassinstrument.
COMPRESSIONDISPLAY‐A5‐LEDdisplaytakespreciseinformation
fromtheRMS‐levelsensorandcompilesavisualfeedbackforthe
amountofcompressionappliedtoinputsignalthat goesabovethe
threshold. The visual indication is calibrated for ‐20dBu (77.5mV)
input reference signal level, suitable to a wide range of electric
instrument pickups.Thedisplayisveryprecise,butisalsototally
relatedtoinputaudiosignallevel,whichishighlydynamicbynature
andmayvarywildlyfromcalibratedreferencewhenusingdifferent
sources.EvenatlowtomidRatios,ifaudioinputlevelishigher,the
display can peak Yellow or Red color. Red color does not indicate
anythingwrong!Thismayhappenfrequentlyifyouhavehighinput
signallevels,lowerThresholdandhigherRatio.Useonlyyourearto
attainthedesiredcompressioneffect!
AUTOADJUSTINGDINAMICTIMING‐Any dynamic processing
requires a precise timing of the Attack and Release of the effect.
CompIQ uses a responsive Auto Adjusting Timing Circuit, which
adapts to playing dynamics. Short and percussive transients are
handledwithfastertimings,whilelonger,steadysignals,andbenefit
from slower timings. The circuit responds dynamically to your
playingandisveryfastinchangingthesetimings.AttackandRelease
timings are applied with softness,whichmakesthiskindof
processingverymusical.AmanualsetofAttackandReleasewould
hardly match the quality of auto timing of this circuit! On top of
that, the Timing Switch allows you to choose from FastorSlower
attack&releasetimes.SlowerTimingspositionisapproximately10‐
15msforattacktimeand100‐220msforreleasetime.Fastertimings
are approximately 5‐7ms for attack, 70ms for release. Attack time
meansthetimeittakesforthemaximumcompressiontoreachthe
setamount.Releasetimemeansthetimeittakesforthe
compressiontoreturntonormal(input)audiolevel.
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 because the
connectorisrecessedinsidetheenclosure.
Compressorsareusuallyplacedrightafteran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.In
suchaninstance,thecompressioncannotreallybeusedasaneffect,
and must be dialed in cautiously to preserve the dynamic range of
themusicalcontent.
The combination of Ratio, Threshold, Make‐up Gain and Dry/Wet
MixmanualcontrolsalongwithCompressionKnee,SideChainFilter
andFast/SlowerDynamicTimingsselectableoptions,makesthistiny
littlepedalamightyweaponofdynamicprocessing.Youwillsimply
notgoingtofindthismanyfeaturesandthisqualityinsuchapedal
formfactor,anywhere.Youmayalsouseitwithvocalsorother
stringed instruments like acoustic guitars, violins, cellos, orbrass
instrumentsliketrumpets,etc.
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 into a Hi‐Z
interfaceinput.Whennotengaged(orpowered),thepedalisinTrue
Bypass.
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.
LASTWORD
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