Becos CIQ-5 COMPIQ PRO User manual
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CIQ‐5COMPIQPROSTELLACOMPRESSORPEDAL
MANUAL
Lastmodified:September24,2021
SPECIFICATIONS
Inputimpedance:>1MΩ
Outputimpedance:~100Ω
0dBinputreferencelevel:‐20dBu(77.5mV)
Outputnoise:‐95dBV@0dBVgain
THD:0.05%for‐5dBVinputsignallevel@1kHz
Outputfrequencyresponse:‐2dB@40Hz;0dB@100Hz‐22KHz
Optimalpoweringvoltage:9‐18VDC±10%,CenterNegativeBarrel
DCPowerplugbarrel:Ø5.1/2.1mm,12mmlong
CurrentconsumptionwithoutDITOSDI:<35mAh@9VDC;<44mAh
@12VDC;<63mAh@18VDC
CurrentconsumptionwithoptionalDITOSDI:<43mAh@9VDC;<
52mAh@12VDC;<72mAh@18VDC
ProductSize:Length:61mm,Depth:120mm,Height:51mm
ProductWeight:227gr./250gr.withDITOSDI
PackedWeight:335gr./360gr.withDITOSDI
PackedShippingWeight(oneunit):491gr./525gr.withDITOSDI
Thank you for choosing CompIQPROStellaCompressorasyour
audio dynamics processor. Stellais an all analog studio‐grade
compressor pedal featuring full manual controls for parameters
rarely found on pedals of this size. Designed and hand built inour
own micro‐lab, Stella is a one‐of‐a‐kind compression pedal built
around the high‐performance THAT 4320 Analog Engine®, which
ensures very transparent, high‐quality audio processing, without
alteringinstrument'stone.
EFFECTCONTROLS
FOOTSWITCH ‐ When engaged, the switch routes the audio signal
through active circuitry and the Power LED (which is the 0dB
compressionLED)islitGreen.Whenpushedagain,thesignalis
routedTrueBypassfromInputtoOutput,leavingtheaudiointact,
evenwhenthepedalisnotpowered.
RATIO‐Thiscontrolsetshowmuchtheaudiosignalisgoingto be
compressed after it passes above the set threshold. It has a
continuousrangestartingfrom1:1(foroneunitofinputsignallevel
yougetoneunitofsignaloutputlevel,whichimpliesnocompression
isapplied)anduptoInfinite:1.At9'clock,thecontrolcorrespondsto
a 2:1 ratio ‐ a mild, musical and very useful compression, which
delicatelyevensoutsignallevelhikes.At12'clockitcorrespondstoa
4:1ratio‐usuallysetwhenmorecompressionfeelisdesirable,like
whenplayingarpeggiatedchords.At3'clockitcorrespondstoa10:1
ratio‐aratheraggressivecompression,whichmaybedesirable
when note sustain is needed. Passing over the 20dB amount of
compression, the reduction in amplitude tends to behave like the
Inf:1 ratio. This corresponds to a Limiting effect.Whenusedasa
limiter, use Threshold control to set the level for triggering the
compressorandsetRatioabove10:1.
THRESHOLD ‐ This control sets the signal level after which
compressionisapplied.Compressionisonlyappliedtotheportion
of the signal that goes above the threshold. Set very low in the
range,itmakescompressionkickinquickly,evenforshortamplitude
input signals. Set higher in the range, it lets a good portion of the
signal untouched. Thisisaveryimportantcontrol.It enables the
compressiontohitonlyhigherstrokesofasignalwhileleavingthe
meat and bone of audio intact. This also translates into greater
transparencyandariseinoutputlevel,makinganymake‐upgain(or
mixingDry/Wetsignals)unnecessarywithlowernoiseattheoutput.
Withthe50dBrangeofthresholds,CompIQStellacanaccommodate
awideassortmentofaudiosignalsfrommanyelectricinstruments,
notonlyguitarorbass.Withasuitablepreamp,itmaybeutilized
evenwithvocalorinstrumentmicrophones.WhentheThresholdis
sethigher,CompIQStellacanalsobeusedwithline‐levelsignals.
TIMING SWITCH‐Theswitchhasthreepositions:Manual, Auto
Fast, and Auto Slower. In Manual(M)position,attack&release
timesaresetthroughAttackandReleasecontrols. InAutoFast(F)
and Auto Slower (S) positions, you activate the Auto Adjusting
Dynamic Timing circuit, which adjusts Attack & Release timings to
playing dynamics. Short percussive transients are handled with
smallertimes,whileconstantsignalsbenefitfromlongertimes.Auto
Fasttimingsaregenerally5‐7msfortheattack,70msforrelease.
Auto Slower timings are about 10‐15ms for attack and 100‐220ms
forreleasetime.
ATTACK&RELEASE‐WhenTimingSwitchisintheupwardManual
(M) position, the controls set the attack and release times of
compression.Attacksetsthetimeneededtoreachthehighestlevel
ofcompression(setbyRatiocontrol) after the audio signal crosses
above the set threshold. While the signal is above the threshold,
compression is withholding. When signalrevertsbackbelowthe
threshold level, compression is gradually released. Release control
setsthetimeneededforthecompressedsignaltoreturndownto
the input level. The controls scale show milliseconds per dB of
compression. These times are dependant on the amount of
compressionsetbyRatiocontrolandinputsignallevel.
MAKE‐UP GAIN‐Becausecompressionmeansdroppingoutput
signal,recoverygainisneededtoevenoutputwithinputlevel.The
more compression is employed(highercompressionratio),the
morerecoverygainhastobeturnedintocompensate.Be
conscious that at higher compression ratios, the recovery circuit
mustre‐amplifyaverylowsignal and with amplification, noiseis
added. To overcome this, we strongly advise using Threshold or
setting moderate compression Ratios and additionally use Soft
Knee.Conclusively,blendinsomedrysignalwiththeMixcontrol.
X‐EQ‐ThiscontrolsagentleequalizationcircuitinspiredbytheHi‐Fi
electronics period of the 70’s. Turned fully counterclockwise, it
increaseslowerfrequencies(+6db)whileproportionallyattenuating
higher frequencies (‐6dB) around the chosen Frequency Pivot.
Turnedfullyclockwise,theoppositewilloccur.Whensettonoon,
lows and highs resemble input signal (no equalization). An internal
Jumper(EQ/BYP)canbypassthecircuit.
EQPIVOTSWITCH‐ThisswitchchoosestheEQFrequencyPivotfor
theX‐EQcontrol.InHigh(H)position,pivotfrequencyissetaround
1KHz‐bestsuitedforguitar.IntheLow(L)position,thepivotisset
at around 330Hz, which is proper for bass. EQ’s action around the
pivot is not sharp, but gentle and progressive, rising towards the
endsofthespectrum.
SOFT/HARD COMPRESSION KNEE‐TheHard Knee compression is
obviousandtheearwillnoticethedynamicprocessingclearly.Once
thesignalgetsoverthethreshold,compressionkicksinwithasharp
corner, and with higher compression ratios it makes the limiting
effectclear.Withlowerratios,itprovidesagoodandmusical
compressioneffect.TheSoft Knee is subtle and compression is
applied progressively, with a soft corner curve. The effect is gentle
anddesirablewhencompressiondoesn'thavetobeexplicitorused
asanaudioeffect.Thinkofitasamasteringtoolforvoicingaudio
content.Withhigherratios(4:1to10:1),itmakesforastudioquality
CIQ‐5COMPIQPROSTELLACOMPRESSORPEDAL
FORGUITAR&BASS
Pleasecheckanddownloadthelatestmanual!
ThankyouforusingtheBECOSproducts!
Designed&HandMadeinRomania/EU
MANUAL
Lastmodified:September24,2021
www.becosfx.com
DC POWER CONNECTOR‐ Use only good isolated, filtered, and
regulated power supplieswithavoltageof9‐18VDC,center
negative,withaDCpowerplugØ5.1/2.1mm,12mmlongbarrel.
COMPRESSION DISPLAY‐An8‐LED display takes information from
theRMS‐levelsensorandcompilesvisualfeedbackfortheamountof
compressionappliedtotheinputsignal.Thedisplayiscalibratedfor
‐20dBu(77.5mV)referenceinputlevel,properforelectric
instrumentpickups.Thedisplayresponseisdynamicbynatureand
fluctuatesfromcalibratedreference.EvenatlowtomidRatios,with
high input leveler, it can peak Yellow or Red color. The Red color
doesnotmeananythingwrong!Thismayoccurregularlywithhigh
inputsignallevels,lowerThreshold,andhigherRatio.Useonlyyour
eartoachievethedesiredcompressioneffect!
An optional DI board is availablefor Stella’s built after September
2021.TheDITOSboardcomespre‐installediforderedalongwiththe
CompIQ Stella. If ordered separately, you must drill the enclosure
yourselfforthe1/4″TRSoutputconnector(placedontheleftsideof
the enclosure). The board takes the space usually used for the 9V
battery. The DITOS DI provides a transformer‐coupled balanced
outputin1/4″TRSformatthatissuitablefordirectrecordingorfor
sendingthesignaltoamixingconsole(equivalencetoXLR:Tip=Pin
2, Ring = Pin 3, Sleeve = Pin 1). The transformer voicing works
exquisitelywelltocomplementtheBurr‐Brownsignalconditioningin
the main circuit. The tone is filled with natural warmth, rendering
tightandpunchylows,enhancedlow‐mids,andwarm‐ringinghighs.
MAINOUTPUT ‐Fromhereyouwillsend the compressed signalto
thenexteffectpedal,oran amplifier'sinput,ortotheRETURNFX‐
loopofanamplifier.Theoutputsignalcanalsoberecordeddirectly
intoaHi‐Zinterfaceinput.
LEVEL‐Usethiscontroltocompensateforthereductioninvolume
that happens when increasing the Tape Saturation effect. With a
minimumsaturationset,thiscontrolactsasavolumeboostforthe
DryLine.
GNDLiftJumpers‐Ground & Chassis Lift Jumpers are available
internally for dealing with potential ground loop noise issues.The
Ground Lift Jumper placed on the Stella’s main board is set ON
(closed) by defaultand is meantto put the Chassis incontact with
Stella’scircuitpowerGround.TheChassisLiftJumperplacedonthe
DITOSboard is set ON (closed) bydefault and itputstheSleevein
theDITOSoutputconnectorincontactwithStella’sChassis.
INPUT ‐ Here you will connect either an instrument directly or the
outputofanotherpedalorasignaltakenfromtheamplifier'sSEND
FX‐loop.
DITOS•Transformer‐CoupledBalancedOutputDIBoard
TAPESATURATION‐SATcontrolactsonDryLineonlyandemulates
vintagestudiotapesaturationcompressioneffectofthe'60s‐which
is basically a musical sort of distortion happening when high
amplitudeaudiosignalsarerecordedonmagnetictape.Itactsfrom
clean (counterclockwise) and up to full saturation distortion (fully
clockwise),whereitresemblesaverywarmsoundingmildoverdrive
effect.Inbetween,youhaveanentirepaletteofcolorfulandmusical
distortions.Theintentofthisanalogcircuitistosaturatethe Dry
Line and then mix it with the Compressed Line,tofattenupthe
compressed sound with harmonic distortions, which will
complement very well guitar and bass sound. Twoadditional
InternalJumpersperformLowCutandHighCutfiltersonDryLine,
toperfectlytrimthe Tape Saturation effect. If filters are not used
(JumpersOn),thesaturationisappliedtothewholeaudiospectrum,
but it will first happen to higher amplitude low frequencies. If
Saturation control is increased, all frequency spectrum will
eventually clip in distortion and adrop in volume will happen.Use
Levelcontroltocompensate.TheLow&HighCutFiltersareuseful
whenlowsseemtoosaturated(forbassinstrumentandhumbucker
guitarpickups) and may resultina fuzzy sound,orwhen too many
highsinaudiocontentmayseemtoobrittle.IfbothLow&HighCut
Filters are enabled (Jumpers Off), only the mids & high‐mids are
affectedandatmaximumsaturation,thesoundwillresembleatube
screameroverdrive.
compressioneffect.WhenSoftKneeisusedwithhigherthresholds,
itaddsmoretransparencytothesound,dilutingcompressionfeel.
SCF SWITCH‐Side Chain Filter switch has three positions: Normal
(N),Low(L)andDeep(D).InNormalposition,theSideChainFilteris
settoaccommodatealargerangeofaudiosignalsandinstruments.
By design, it has an attenuation of lower frequencies below 1 kHz,
whichallowsthelowerfrequenciespassthroughwithouttriggering
thecompressionrightaway.Thissettingrendersanaturalresponse
thatissuitableformostcases.InLow(L)position,moreofthelower
end frequency (an additional ‐12dB@90Hz) is freed up to prevent
triggering the compressor. This is an intermediary position, and it
letsmoreofthelowendpassthroughattheoutput,whilealso
loweringtheamountofcompression.IntheDeep(D)position,even
moreofthefrequencyspectrumisfreedup(‐12dB@200Hz).
DRY/WETMIX‐Thiscontrolactslikeanaudiomixer,whereyoucan
blendinput clean signalwithoutputcompressedsignals.This helps
restoretransients or squishedfrequencieswhicharelessperceived
byearwhenreducedtoalowerlevelbycompression.Inthemiddle,
themixis50‐50.Suchasettingwashesoutalotofcompressionfeel.
Thedrysignalisareplicationoftheinputsignal.Whensetto100%
dry,CompIQPROactslikeabuffer.AnanalogTapeSaturationeffect
canbeappliedtoDryLine.
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