Name: CompIQ MINI ONE Compressor Pedal for Guitar & Bass
SKU: CIQ-1
Price: 139.00 EUR
Availability: InStock
Rating: 5 (1 reviews)

Description

The simplified studio-grade mini compressor pedal

CompIQ MINI ONE Pro Compressor is the simpler interfaced compressor in the CompIQ series. It is aimed at the set-and-forget type of users, which seek simplicity in operation. The MINI ONE is featuring the same core sonic technology as its bigger brothers, being built around the top-class 4320 THAT Analog Engine^®. At the heart of processing, a true RMS-level detector measures the input signal and applies accurate feed-forward compression through a transparent sounding, high-performance Blackmer^® VCA.

The CompIQ MINI ONE features controls for Ratio, Gain, and Dry/Wet Mix, alongside a Sense threshold switch with two preset levels, one of which is variable with an inside-box trimmer. This gives the user the flexibility to adapt the compressor to any kind of instrument level. Compression Knee is set for Hard processing, providing a pronounced yet transparent effect application which is appropriately balanced through the Dry/Wet Mix trimmer.

The compressor’s Side-Chain Processing presents a non-linear, high-pass characteristic above 1KHz, which balances the potential trigger-difference between the energy of low and high frequency. Such a feature is usually available only in high-end studio compressors, and it is intended for a natural effect application even on higher compression ratios. You can read more about this feature in the CompIQ 101 section of this page.

Tailored for both guitar and bass, this pedal lets you achieve studio-grade compression through a set of simple controls.

Dynamic Auto Attack & Release Timing circuitry replaces the need for a dedicated attack switch or manual attack and release controls, rendering perfect timings for any playing style. The timing is set for fast attack and slower release but it is also program-dependent – fast transients are released faster, while steady signals decay slower. On average, the release time is 10-15 times the attack time. Regardless of the playing style, the dynamic auto timing of the compressor will always sound great because it’s adapting to the input signal envelope.

The amount of compression is indicated by a responsive 5-LED display, for visual feedback over how much the signal is reduced while compression takes place. The True-Bypass routing leaves bass or guitar signal chain untouched when the pedal is not engaged, even if it’s not powered.

All analog, accurate, transparent compression

CompIQ MINI ONE Pro Compressor was designed with guitar and bass in mind but make no mistake, it can add dynamic feeling to any audio signal, including vocals – with an appropriate preamp. We think it may also be among the best mini guitar and bass compressor effect pedals. Many instruments can benefit from the CompIQ series of compressor’s qualities: electric guitar & bass, electric acoustic guitar & bass, electric string instruments, harmonica, brass instruments, synthesizers, etc.

In many ways the Becos Mini One Pro has a lot in common with the Keeley. Becos trades a Threshold dial for a push button and internal trimmer. But you also get a 5 LED gain reduction media that is far superior to the Keeley Bassist’s single LED. The Becos also adds the comprehensive Dry/Wet signal dial. The Becos is also smaller. Both have an inherent transparent quality.

Pristine audio processing

The CompIQ series of compressors is not gonna alter the magic voice of your instrument. They preserve the original guitar or bass tone while providing unobstructed, pristine audio compression. The high dynamic range of these compressors allows for natural-sounding clean tones and low noise, artifact-free audio processing without the distortions usually introduced by optical compressors.

Key features

True analog bypass
Blackmer® VCA analog compressor
True RMS-level detector
Ratio 1:1 – inf:1
Sense Threshold Switch Presets: Low is fixed at -40dB; High can be set in a range from -40dB to +10dB
Make-up Gain -6dB to +20dB
Hard compression knee
Program dependent Dynamic Auto Timing (Fast Attack / Slower Release, with an immediate release for transients and hold for steady signals)
Non-linear, easy-slope, high-pass side-chain processing above 1KHz
Dry/Wet mix
5-LED compression display
Socketed hi-quality FET audio IC, low tolerance parts & WIMA audio capacitors
MINI-sized, black powdered, genuine aluminum Hammond enclosure
9-12 V DC external power supply, center negative, 12mm long barrel plug (not included)
3-year warranty

More info

Manual
Read CompIQ 101
Video demo | More
Compare compressors
CompIQ MINI ONE Pro vs. other minions

Additional information

Weight	0.3 kg
Dimensions	9.2 × 3.7 × 5.5 cm
Features Summary	All analog circuitry made with highest quality components, in a compact, low profile design True RMS-level sensor High-performance Blackmer® VCA Manual continuous controls: Ratio (1:1 to inf:1), Make-up Gain (-6dB to +20dB), Dry/Wet Mix Sense Threshold Switch Presets: Low is fixed at -40dB; High can be set in a range from -40dB to +10dB Hard Compression Knee Program dependent Dynamic Auto Timing (Fast Attack / Slower Release, with an immediate release for transients and hold for steady signals) 5-LED Compression Display True Bypass; 1590A road-worthy black powdered aluminum enclosure; 3-year warranty; Product weight: 0.17Kg Shipping weight: 0.3Kg MSRP: 149 Euro; Made in EU/Romania;
Technical Specifications	Input impedance: 1MΩ Output impedance: less than 100Ω Ratio: 1:1 to inf:1 Threshold range: fix setting at -40dB; variable from-40dB to +10dB Make-up gain: -6dB to +20dB 0dB input referrence level: -20dBu (77.5mV) Total amount of compression: depends on input signal level, usually 20dB for input signals around -20dBu (77.5mV) and up to 36dB for +4dBu (1.23Vrms) input signal level, all at inf:1 Ratio Attack time: ~15ms Release time: ~220ms Dynamic Timing: transients are handled faster; steady signals are hold until input decays bellow threshold level Output noise at 0dBV gain: -95dBV Total Harmonic Distortion THD: 0.05% for -5dBV input signal level @ 1kHz Wet output frequency response: -2dB @ 40Hz; 0dB in between 100Hz and 22KHz Dry output frequency response: FLAT; 0dB in between 10Hz and 100KHz 5-LED Display: calibrated for designed referrence input level of -20dBu (77.5mV), to accomodate electric guitars and bass pickups; compression occurs beyond -20dB Red LED indication, when input signal is stronger External power voltage: 9-12VDC (power supply not included) DC power connector polarity: center negative [ – ] DC power plug barrel: Ø 5.1/2.1mm, 12-15mm long Current consumption: < 25mA Product weight: 0.17Kg Shipping weight: 0.3Kg

COMPIQ 101

The CompIQ series of compressors

Circuit Design

Dynamic Processing

Analog Engines

Variation Element

Side-Chain Detection

Side-Chain Filter

Side-Chain Frequency Compensation

Adjustable Input Level

Input Clipping LED

Crossover

Ratio

Threshold

Dynamic Auto Timing

Attack

Release

Make-up Gain

Compression Knee

EQ Bypass

Dry/Wet Mix

Saturation

Saturation EQ

Compression Display

9V Battery Operation

External DC Power

DC Power Plug Barrel

Current Consumption

Add to Cart

TWAIN

Compressor / Limiter

Dual Band / Stacking

Blackmer® VCA

True RMS-Level Sensor

Normal / Low / Deep
lows only

YES

-9dB to +6dB

> +6dBu signal levels

Linkwitz–Riley
70Hz to 1KHz

1:1 to inf:1
both bands

-40dBu to +10dBu
both bands

Auto Fast / Slower
both bands

F / S: 5‐7ms / 10-15ms

F / S: 70ms / 100‐220ms

-6dB to +20dB
both bands

Hard / Soft
both bands

Through Make-up Gains on Wet line (boost/cut)

YES

On Dry Line
adjustable

Lo / Hi Cut filters and Level controls

6-LED
both bands

9-18VDC center negative

Ø 5.1/2.1mm, 12mm long

< 69mA

Add to Cart

STELLA

Compressor / Limiter

Single Channel

Blackmer® VCA

True RMS-Level Sensor

Normal / Low / Deep

YES

1:1 to inf:1

-40dBu to +10dBu

Auto Fast / Slower

F / S: 5‐7ms / 10-15ms
Manual: 0.12 ms/dB to 12 ms/dB

F / S: 70ms / 100‐220ms
Manual: 1.2 ms/dB to 120 ms/dB

-6dB to +20dB

Hard / Soft

X-EQ +/-6dB with Low / Deep frequency pivots

YES

On Dry Line
adjustable

Lo / Hi cut filters
(inside jumpers)

6-LED

YES

9-12VDC center negative

Ø 5.1/2.1mm, 12mm long

< 29mA

BUY NOW

MINI

Compressor / Limiter

Single Channel

Blackmer® VCA

True RMS-Level Sensor

Normal / Deep

YES

1:1 to inf:1

-40dbu to +10dBu

Auto Fast / Slower

F / S: 5‐7ms / 10-15ms

F / S: 70ms / 100‐220ms

-6dB to +20dB

Hard / Soft

YES

5-LED

9-12VDC center negative

Ø 5.1/2.1mm, 12mm long

< 25mA

BUY NOW

ONE

Compressor

Single Channel

Blackmer® VCA

True RMS-Level Sensor

Normal

YES

1:1 to inf:1

Lo: -40dBu fixed; Hi: -40dBu to +10dBu inside trimmer

Auto Slow

10-15ms

100‐220ms

-6dB to +20dB

Hard

YES

5-LED

9-12VDC center negative

Ø 5.1/2.1mm, 12mm long

< 25mA

BUY NOW

MINI Pro vs. other minions

Wanna know more about mini compressor pedals? We compiled a Technical Shootout for most performance and popular mini compressor pedals available. Click here to find out how CompIQ MINI Pro stands out.

Blackmer^® VCA

First developed by David Blackmer of dbx Inc., the original dbx 202 “Black Can” VCAs, can still be found in operating consoles today. These first VCAs suitable for pro audio equipment were built with a gain cell of eight discrete transistors. Later development of these IC’s surpassed all inconveniences of earlier designs, now rendering superior performances. CompIQ series of compressors use THAT Corporation Blackmer^® VCAs which are characterized by an exponential control characteristic (gain varies directly in decibels), extremely wide dynamic range, and low signal distortion. They are particularly neutral in sound, adding little or no coloration to audio signals.

RMS-Level Sensor

Invented by David Blackmer of dbx Inc., the RMS-level detector computes Root Mean Square level of input signals in a logarithmic form, similar to how human ear perceives sound. The sound envelope decoded by this accurate detector is used to apply dynamic processing of the sound – the variation of signal level precisely controlled by the VCA according to parameters set by the user (Ratio, Threshold, Attack, Release, and Gain).

Threshold Range

The threshold’s 50dB of range is designed to accommodate very weak signals up to pro audio level signals. The +4dB pro signal line level is at the top of this range, and consequently at the far clockwise end of the threshold knob. This gives a huge amount of headroom for the instrument’s generated signals, which ensure the compressor is not distorting with high-level spikes. We didn’t want that, by design. Some other compressors distort a lot, for various reasons, and headroom (or lack of it) is one of them. The CompIQ line of compressors is made to accommodate either lower OR hotter signals, and that is the reason why it can also be used with synths or other line-level devices. We wanted that so that we cover a broad spectrum of usage. As opposed to this kind of design are the compressors which have a very low threshold set hard within the circuit, and they would be controlled through “compression variation” only. This is equivalent to setting our compressors with the lowest threshold, and then vary compression amount with the Ratio control.

One other fact to point out is the range of a pickup signal, which is in the lower 25% of the pro signal level. This falls as well within the first quarter of the Threshold knob’s rotation range. The compression, or limiting, should only occur on peaks and for that matter, the optimum threshold point for a pickup is also in the lower setting on the Threshold knob, maybe between -30 to -20dBu (by design, this is also the reference level of the internal circuit). Around 8 or 9 o’clock, you are more than halfway within a pickup signal range. If you are to compress just peaks, you would set the threshold knob at about 9 o’clock or slightly above. At this level, a higher compression ratio makes no sense, unless is limiting you’re after. If you want to have a more audible feel of the compression, you would set the threshold knob bellow 9 o’clock, and the lower you go counterclockwise the smaller compression ratios you should use so that the pickup signal is not squashed too hard. Unless you want to use the squash as an effect! And here comes the “New York compression style” which means compress with a high ratio and low threshold, and mix the compressed wet signal with the dry signal.

Worth mentioning is that all CompIQ compressors have a hard-set signal level protection which is 1.2Vp-p or just around the pro signal level. For higher input levels than that, the circuit gets into distortion, which is generated by the protection and not within the compression electronics. Such protection is needed to avoid damages within the electronics due to input spikes or accidental DC leakage. Anyway, guitars and basses will not get to that top-level easily, unless they are put after a device that would be cranked up.

Side Chain Filter

Side 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 frequency with high amplitude, which otherwise would clamp the higher frequencies too early. This results in a breathable type of compression, which has a particular sound characteristic, making it feel more natural to the ear. At the same time, the sound at the output may come out” fatter” or “punchier”.

Side Chain HPF Options in CompIQ PRO Stella Compressor (-12dB at 90Hz & -12dB at 200Hz)

In CompIQ Stella, CompIQ Mini, and CompIQ Twain the SCF is switchable for a pre-set amount of low-cut of the triggering frequencies. The Normal option provides a general-purpose type of compression response which is frequency-compensated to resemble the human ear perception of sound, while Low and Deep options add a cut of -12dB@90Hz and -12dB@200Hz (-12dB@130Hz for the CompIQ Mini) on top of the Normal side chain curve, making it suitable for bass instruments.

Side Chain Frequency Compensation

Frequency Compensation refers to the shape of the audio spectrum presented to the Side Chain Detector. Due to the nature of audio in general and musical instruments in particular, each musical note has a dominant frequency plus harmonics. The dominant frequency is always higher in amplitude than its harmonics. As musical notes fall lower in the audio spectrum (say notes on the lower strings in a guitar), their dominant frequency have bigger and bigger amplitudes (as opposed to notes on higher strings). That amplitude has the potential to trigger compression too early, and as a result, they may over-compress the harmonics or higher notes. This is usually heard by the human ear. To overcome this, we compensate for the low-frequency triggering potential, by progressively delaying it towards 1KHz, as the graph below shows. This is similar to say we apply a progressive threshold, where lower frequencies see a higher threshold than higher frequencies, which see a lower threshold proper for their lower amplitude. This type of progressive compensation helps prevent the “pumping” often encountered in compressors and makes the dynamic processing feel more natural. That is especially true for percussive instruments or for instruments rich in low frequencies, like bass.

The Normal side-chain roloff curve above is particular to all our compressors, providing a general-purpose type of compression response which corresponds to how the human ear perceives the sound. In CompIQ Stella and CompIQ Twain the Side Chain Filter has two additional options: Low (-12dB@90Hz) and Deep (-12dB@200Hz) on top of the Normal curve. The Deep SCF is set to -12dB@130Hz for the CompIQ Mini.

Tape Saturation Lo & Hi-Cut filters

The Tape Saturation analog circuit acts only on the Dry signal. This optionally-saturated signal can then be mixed with the wet, compressed signal, to infuse harmonic distortions and warm-up the audio, without affecting the dynamics of the compressed signal. The headroom of the saturation circuit is pretty high, so you need to dial in some saturation before the effect is audible. Below you can see how the filters affect the frequencies of the Dry line.

The Low & High cut filters should be used only when Tape Saturation is used, otherwise, they will affect the clean dry line, although, that might also be a desirable way of using the Dry/Wet Mix control. The filters were necessary so that they would accommodate different types of audio sources, and respond musically without introducing unwanted fuzziness on the low end (especially for bass), or make it sound brittle (especially on bright guitar pickups).

X-EQ

The X-EQ section of the circuit is placed after the compressor, just before the Mix control, which means it acts on the wet signal only. When mixing the dry unprocessed signal, with the wet, compressed, and processed signal, the effect of the X-EQ is washed out little by little, as you introduce more dry signal.

The X-EQ on Stella has two frequency pivot points so that it will accommodate either bass (pivot at 330Hz, which corresponds to the higher note on the highest note of a 4 or 5 strings bass), or guitar (pivot at 1KHz, which corresponds to the highest note on a 20-fret guitar). In extreme settings (CC or CCW), there is a total difference of 12dB in between lows and highs. In the middle position of the X-EQ knob, the frequencies are not affected. The X-EQ section can be bypassed altogether by changing the position of a jumper inside the pedal.

Line-level signals

CompIQ series of compressors (both Stella and MINI) share the same core technology – sound wise they sound exactly the same. They have 50dB threshold range, from -40dB up to +10dB which is from average magnetic pickup level up to above line level. They both may be used on line-level FX Loops or hi-Z input on recording interfaces. Having an RMS-level detector, the compression is very accurate and the LED indication is very precise in that regard, as long as the input signal is at/around calibrated reference level. With line-level signals, which is way up, the LED’s will flash red more often, but there is nothing wrong with that. We did not provide means for re-calibrating the compression display at various signal levels because they were designed to be used mainly with instrument-level signals. CompIQ series “0dB input reference level” is hard-set at -20dBu (77.5mV). The total amount of compression depends on input signal level, usually 20dB for input signals around -20dBu (77.5mV) and around 36dB for +4dBu (1.228Vrms) input signal levels, all at inf:1 Ratio.

Compressor noise

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 others, but the fact is they all introduce noise with amplification (the amount of noise is also dependent on amplification circuit, FET-based amplification being potentially a bit noisier; in CompIQ compressors, amplification takes place in the VCA). To correctly compare compressor’s noise, they must be set for the same exact amount of threshold, ratio and make-up gain, and be fed the same reference signal. Some manufacturers limit the Ratio of their compressors to 7:1 (Empress), or as low as 3:1 (Diamond) and those make for “very silent compressors”. Of course in this regard “silent compressor” has a subjective meaning, if it’s not a misleading statement. As far as CompIQ compressors go, keep in mind:

at higher input signal levels, the makeup gain-related noise will be lower, because you deal with a bigger signal in the first place;
if you set a higher threshold, hard knee, and inf:1 ratio and you affect only the peak of the signals – as this limiting setup makes sense to be used – the noise will be inaudible.
for weak magnetic pickup signals, at the lowest set threshold and with ratios around 4:1 (which is a fair amount of compression), the CompIQ make-up gain will introduce noise similarly to studio-grade equipment.
on top of Threshold, you have the MIX control which helps reducing noise by blending in the dry signal;
using soft knee also contributes to reducing the need for make-up gain, so implicitly it reduces potential noise.

Independent demos, reviews & comments

Vintage Guitar Magazine – CompIQ STELLA – Review
Guitarre und Bass Magazine – CompIQ TWAIN & STELLA – Review
Guitar Magazine – CompIQ TWAIN – Review
Guitar Magazine – CompIQ STELLA – Review
Premier Guitar Magazine – CompIQ TWAIN – Gear Radar
Premier Guitar Magazine – CompIQ STELLA – Pedal Showcase
Premier Guitar Magazine – CompIQ MINI – Quick Hit Review
Guitar Pedal X – CompIQ Compressors Line-Up
Compressor Pedal Reviews – CompIQ TWAIN – Review
Onlybass Forum – CompIQ STELLA – Review with sound samples (French language)
Onlybass Forum – CompIQ MINI & STELLA – Reviews & Comments (French language)
Talkbass Forum – CompIQ MINI – Reviews & Comments
Talkbass Forum – CompIQ MINI ONE – Reviews & Comments
Talkbass Forum – CompIQ STELLA – Reviews & Comments
Basschat Forum – CompIQ STELLA – Review
Basschat Forum – CompIQ STELLA – Reviews & Comments
YouTube – Reviews and Demos

CompIQ MINI ONE Compressor Pedal for Guitar & Bass

Description

The simplified studio-grade mini compressor pedal