March 2019

How do compressor mini pedals compare with each other? What features sets them apart? What technology are they using? What is their tone print? Which one is best suited for your dynamics control needs? These are legitimate questions and often a feature of personal interest may count more than the whole package. We thought to offer a technical comparison table to see how CompIQ MINI Pro Compressor and CompIQ MINI ONE Pro Compressor pedals compare with or differ from other pedals of similar size. Product technical features are compiled in a minimalist way using the information published in manufacturer online pages, manuals available for download, and/or independent reviews where the aforementioned lack in detail. As a courtesy, we provide a direct link to the product’s original page. If you have other proposals for this shootout, please contact us, and we will add them to the table. Click/Tap main column’s content!WHAT AND HOW WE COMPAREWhen you click on each cell's content in the CompIQ MINI column you will have a small description on the scope of comparison for that line. Click again to hide the tooltip. | > >>| CompIQ MiniBlackmer® VCA & RMS-Level SensorFeed ForwardCOMPRESSOR TECHNOLOGYRefers to active circuit design and control elements which perform dynamic signal processing. Audio signal may be processed by and passed through Voltage Controlled Amplifiers (VCA), Vacuum Tubes, Discreete Semiconductors (i.e. FET Transistors), Operational Transconductance Amplifiers (OTA), Opto-Resistive Elements, Digital Signal Processors (DSP), etc. These can be arranged in various ways and refered to as: Vari-Mu, Push-Pull, Variable Resistance, etc. Sometime we refer to sidechain processing (feed forward or feed back compressors) or input signal measurement performed by Root Mean Square RMS-Level Sensors or other devices.Ratio (1:1 to inf:1),Threshold (-40dBu to +10dBu)COMPRESSION CONTROLDescribes the controls used for WHEN compression effect takes place (Threshold) and HOW MUCH the audio is affected (Ratio). Professional compressors provide fine adjustments controls with potentiometers with exact markings in decibels or amount-of numbers. Other compressors provide switches with preset options, or potentiometers controlling more parameters combined (i.e Ratio, Threshold, Input Level, Timing, etc.). Manufacturers sometime simplify the naming of these controls and use labels such Sustain, Comp, Compression, Sensitivity, Gain, Level, etc. They don't bother providing an exact range for their controls, and all mean the same thing: how much gain reduction is applied to the audio signal and maybe in what way.Make-up Gain (-6dB to +20dB)RECOVERY GAINIndicates a way to bring back the compressed signal to the input level. Manufacturers name this control in many ways - Level, Gain, Make-up Gain, Output, Volume, Recovery, etc. The re-amplification of a weak signal - as compressed signal is - is the main source for noise in compressors. Some compressors might be described as noisier than other, but the fact is they all introduce noise with amplification. To really compare compressor noise, they must be set for the same exact amount of compression and make-up gain. Some manufacturers limit the Ratio of their compressors to as low as 3:1 and those make for the most silent compressors. Duh!Hard/Soft Compression KneeCOMPRESSION CURVE CHARACTERISTICCompression Knee is the way a circuit handles the variation in signal level. Soft Knee Compression means signal reduction is applied progressively as signal passes above threshold level. Soft handling means the effect is less obvious, more transparent to the ear. Hard Knee Compression translates into a brick-wall smashing of the sound, immediately as signal passes above the threshold. The effect is more audible with higher compression ratio (sometime is referred to as popping, due to sudden level variation), and is more desirable for limiting purposes. Having both options available means more control over musical program.Fast/Slower Dynamic Auto TimingATTACK & RELEASE TIMESProfessional compressors have fine adjustment controls for both Attack & Release Times. However, many compressors in pedal form have simplified preset timings or hard wired circuits for this task (for which no external control is offered). These simplified circuits can have several switching preset options on their own, to manually alter the timings. Other compressors have implemented elaborated circuits which respond to playing dynamics, and adapt their timings on-the-fly. Here too may be offered switching options to further expand compression versatility.Normal/Deep Side Chain FilterSIDE CHAIN FILTERSide Chain Filter is a feature which allows a change in the side chain compression triggering frequency filter. The purpose is to delay the start of the compressor by the low frequencies with high amplitude, which otherwise would clamp the higher frequencies too early. Dry/Wet MixDRY/WET SIGNAL BLENDThis is a more and more popular way of diluting the compression feel and making more transparent to the ear. Also called parallel compression or New York compression, it is very desirable especially when compression parameters are more aggressively set. It is a common practice in studios to have the wet (compressed) line pushed to the max and then mix that with a bit of a dry signal. The blend renders a perfect amount of musical compression, which would be otherwise almost impossible to achieve using the compressor alone. This feature is available rather on the high-end line of pedals.Fully Transparent, No distortion, No artifactsEQ PROCESSING / CLAIMED SOUND CHARACTERISTICIn this section we aligned the EQ control feature, if existent, or manufacturer claim over the sound characteristic of the compressor. It is well known that some compressors are described as transparent, meaning no sound alteration should occur during processing, while other are related as colored (warm, distorting, with grit, having punch, etc.). If an EQ circuit is available we mention it along with its characteristic. Some pedals may provide switches for introducing sound filters in the audio path (Cut/Boost for specific frequencies). Other may have Tone controls, Tilt-EQ's or full EQ sections.5-LED Gain Reduction DisplayCOMPRESSION DISPLAYCompression display refers to a visual indication of when the compression takes place in the circuit. Often overlooked, this visual feedback is very helpful because the ear is tricky and not always accurate. Professional compressors have vu-meters to visually indicate the exact amount of compression, but this is a feature almost non existent in compression pedals, especially in MINI form. Some pedals have a 1-LED for over-the-threshold indication, and may offer a clue on the amount of processing by varying the LED's light intensity. An accurate indication is possible only with marked vu-meters (LED or Needle) and only if the information is taken from a sensor that measures the input signal level (such as a RMS-Level Detector). - BATTERY OPERATEDWhile most compressor pedals in MINI form are only externally powered, some may operate on internal 9 Volt battery. This is quite an achievement, and a nice feature to have, if that is possible in such a small enclosure!9-12VDC, 25mAhPOWER REQUIREMENTIndicating the optimal or required operation voltage and current consumption of the device.True BypassSIGNAL BYPASSThere is a whole lot of discussion regarding the benefits of having a signal bypass that is unaltered when the active circuit is not employed. We will not make the case for either Buffered or True bypass. Both ways have benefits and drawbacks, but it is possible that True Bypass is just being so marketed and available simply because average people think is better(!) without really bothering to dig for the science behind. Of course, is also cheaper and simpler to implement. The most professional way to do it is to offer both Buffered Bypass and True Bypass options, the later being done with relays. This will add to the cost of the device.View Product CompIQ Mini OneBlackmer® VCA & RMS-Level SensorFeed ForwardRatio (1:1 to inf:1),Sense ThresholdLow -40dBu / High -30dBuMake-up Gain (-6dB to +20dB)Hard Knee CompressionFast Dynamic Auto TimingFrequency Compensated Side ChainDry/Wet MixFully Transparent,No distortion, No artifacts5-LED Gain Reduction Display-9-12VDC, 25mAhTrue BypassView Product Fairfield Circuitry AccountantJFETFeed-Back -24dBu Fixed Threshold, Ratio (3, 6, 12:1) & Input Pad (0, -8, -16dB) SwitchesVolume-Fixed Attack/Release Time--Beefier to Dirty--9VDC, 12mAhTrue BypassView Product Xotic SPOTA"Ross type"Lo/Mid/Hi Compression Toggle Switch, Input Pad Internal DIP SwitchVolume-Attack/Release Internal DIP Switch-Dry/Effect BlendLow/Hi-cut Internal DIP Switch-Battery Operated9-18VDC, 5mAhTrue BypassView Product Wampler Ego MiniOTA"Ross type" Sustain (Compression)Volume-Fast/Slower Attack Switch-BlendNormal/Bright Tone Switch--9-18VDC, 14-22mAhTrue BypassView Product JHS Whitey TightyFET CompressionVolume---BlendSubtle Smoothing to Pleasing Squash--9VDC, 21mAhTrue BypassView Product TC Electronic Hypergravity MiniDigitalMultiband TonePrint Sustain (Compression)Level (Volume)- Attack --TonePrint Sonic Signatures--9VDC, >100mAhTrue BypassView Product One Control Lemon YellowVCA Ratio (1:1 to 5:1)Level, VCA Gain (+18dB)-Sustain Switch--Tasty Distortion-Battery Operated9VDC, 10mAhTrue BypassView Product Suhr WoodshedVCA Feed ForwardRatio (1:1 to inf:1),ThresholdMake-up Gain-Attack (Fast, Medium, Slow)--Transparent & Open--9VDC (24V internal), 80mAhTrue BypassView Product AMT G-PackerOptical Comp (Compression)Level (Volume)-Slow/Medium/Fast Attack Switch, Sustain (Release)--Fully Transparent--12VDC, 13mAhTrue (?) BypassView Product Henretta Eng. Orange WhipDan Armstrong"Orange Squeezer" Internal Bias Trim (Compression)Internal Output Trim (Volume)----Subtle Yet Present--9VDC...

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Guitar & Bass Mini Compressor Pedals Technical Shootout