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CompIQ MINI ONE Pro Compressor Pedal for Guitar & Bass

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CompIQ MINI ONE Pro Compressor is the simpler interfaced compressor in our CompIQ series of compressors. It is aimed at the set-and-forget type of users, which seek simplicity in operation, while still benefiting from the sound qualities matched by expensive studio gear.

Guitar.comLatest CompIQ addition is a studio-grade compressor with simple controls.

This mini compressor pedal is the missing ingredient of dynamic processing, which will uplift your instrument’s tone. You will simply not going to find anything like it.

 Manual

 CompIQ MINI ONE Pro vs. other minions

In stock

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 THAT Analog Engine® – used in rack processors made by the likes of DBX, Presonus, Dangerous Music or Revive Audio -, which ensure the highest quality VCA dynamic processing. A true RMS-level sensor measures input signal and applies accurate feed-forward compression through a transparent sounding, high-performance Blackmer® VCA, giving you the studio-like audio feeling and purity.

The CompIQ MINI ONE features controls for Ratio, Gain and Dry/Wet Mix, alongside with 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 levels. Compression Knee is set for gentle Soft processing, providing a subtle and transparent effect application.

Guitar.com - Becos Effects’ CompIQ Pro Stella Compressor features rack-style controls on a stomper
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 from a tiny effect pedal

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.

Extensive review of CompIQ MINI ONE Pro Compressor on TalkBass.com ForumIn 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. The Mini One Pro is a remarkable little tool.

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, without noise, distortion or other artifacts.

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
  • Soft compression knee
  • Program dependent Dynamic Auto Timing (Fast Attack / Slower Release, with an immediate release for transients and hold for steady signals)
  • 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)
  • 2-year warranty

More info

 Manual

 Read CompIQ 101 above

 CompIQ MINI Pro Website

 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
Soft 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;
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
Signal Variation Element
Signal Level Detection
Manual Ratio
Manual Threshold
Manual Attack
Manual Release
Manual Make-up Gain
Dynamic Auto Timing
Compression Knee
Side Chain Filter
EQ
EQ Bypass
Dry/Wet Mix
Tape Saturation
Saturation EQ
Compression Display
9V Battery Operation
External DC Power
DC Power Plug Barrel
Current Consumption
Blackmer® VCA
RMS-Level Sensor
1:1 to inf:1
-40dBu to +10dBu
0.12 ms/dB to 12 ms/dB
1.2 ms/dB to 120 ms/dB
-6dB to +20dB
Fast / Slower
Hard / Soft
Normal / Low / Deep
Tilt-EQ +/-6dB with Low / Deep frequency pivots
YES
YES
On Dry Line
adjustable with Saturation and Level controls
Jumper selectable Lo / Hi cut filters
6-LED
YES
9-12VDC center negative
Ø 5.1/2.1mm, 12-15mm long
< 29mA
Blackmer® VCA
RMS-Level Sensor
1:1 to inf:1
-40dbu to +10dBu
-
-
-6dB to +20dB
Fast / Slower
Hard / Soft
Normal
-
-
YES
-
-
5-LED
-
9-12VDC center negative
Ø 5.1/2.1mm, 12-15mm long
< 25mA
Blackmer® VCA
RMS-Level Sensor
1:1 to inf:1
Lo: -40dBu fixed; Hi: -40dBu to +10dBu variable with inside trimmer
-
-
-6dB to +20dB
Slower
Soft
Normal
-
-
YES
-
-
5-LED
-
9-12VDC center negative
Ø 5.1/2.1mm, 12-15mm long
< 25mA
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 circuits have a hard-set signal level protection; which is around 1.2Vp-p or just around… pro signal level. For higher input levels than that, the circuit gets into distortion, which is generated by the protection section of the circuit and not within the active electronics, like buffers and VCA. 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 PRO Stella, 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, while Low and Deep options add a cut of -12dB@90Hz and -12dB@200Hz on top of the Normal side chain curve, making it suitable for bass instruments.

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).

Tilt-EQ
The Tilt-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 Tilt-EQ is washed out little by little, as you introduce more dry signal.

The Tilt-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). At extreme setting (CC or CCW), there is a total difference of 12dB in between lows and highs. In the middle position of the Tilt-EQ knob, the frequencies are not affected. The Tilt-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 other, 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

VIDEO DEMOS

Watch video demos and independent reviews for CompIQ MINI Pro Compressor

Prashant Aswani CompIQ Poster

COMPARE COMPRESSORS

The comparison table is best viewed on large screens, in landscape mode, preferably on desktop.

Signal Variation Element
Signal Level Detection
Manual Ratio
Manual Threshold
Manual Attack
Manual Release
Manual Make-up Gain
Dynamic Auto Timing
Compression Knee
Side Chain Filter
EQ
EQ Bypass
Dry/Wet Mix
Tape Saturation
Saturation EQ
Compression Display
9V Battery Operation
External DC Power
DC Power Plug Barrel
Current Consumption
Blackmer® VCA
RMS-Level Sensor
1:1 to inf:1
-40dBu to +10dBu
0.12 ms/dB to 12 ms/dB
1.2 ms/dB to 120 ms/dB
-6dB to +20dB
Fast / Slower
Hard / Soft
Normal / Low / Deep
Tilt-EQ +/-6dB with Low / Deep frequency pivots
YES
YES
On Dry Line
adjustable with Saturation and Level controls
Jumper selectable Lo / Hi cut filters
6-LED
YES
9-12VDC center negative
Ø 5.1/2.1mm, 12-15mm long
< 29mA
Blackmer® VCA
RMS-Level Sensor
1:1 to inf:1
-40dbu to +10dBu
-
-
-6dB to +20dB
Fast / Slower
Hard / Soft
Normal
-
-
YES
-
-
5-LED
-
9-12VDC center negative
Ø 5.1/2.1mm, 12-15mm long
< 25mA
Blackmer® VCA
RMS-Level Sensor
1:1 to inf:1
Lo: -40dBu fixed; Hi: -40dBu to +10dBu variable with inside trimmer
-
-
-6dB to +20dB
Slower
Soft
Normal
-
-
YES
-
-
5-LED
-
9-12VDC center negative
Ø 5.1/2.1mm, 12-15mm long
< 25mA

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