The simplified studio-grade mini compressor pedal
The CompIQ MINI ONE Pro Compressor represents the simplified version of the CompIQ compressor series, offering a user-friendly interface for individuals seeking a set-and-forget operation. Despite its simplicity, the MINI ONE incorporates the same superior sonic technology found in its larger counterparts, as it is built around the exceptional 4320 THAT Analog Engine®. The processing of the input signal is performed by a true RMS-level detector, which then applies accurate feed-forward compression through a high-performance Blackmer® VCA, delivering a transparent and exceptional sound quality.
The controls of the CompIQ MINI ONE include Ratio, Gain, and Dry/Wet Mix, in addition to a Sense threshold switch that provides two preset levels. These features enable the user to tailor the compressor to specific instruments or achieve varying degrees of processing.
The Side-Chain Processing function of the compressor exhibits a non-linear, high-pass characteristic that operates beyond 1KHz. This characteristic aids in balancing the potential trigger-difference between low and high-frequency energy. This feature is typically exclusive to high-end studio compressors, and is ideal for achieving a natural effect application, even at higher compression ratios. For more detailed information on this feature, please refer to the CompIQ 101 section of this page.
Simplified but as brilliant as ever, this is as good as mini compressor pedals get.
The Dynamic Auto Attack & Release Timing circuitry obviates the requirement for a dedicated attack switch or manual attack and release controls, producing impeccable timings for all playing styles. The timing mechanism is configured for rapid attack and gradual release, while being program-dependent, allowing swift transients to release faster, and steady signals to decay slower. On average, the release time is roughly 10-15 times the attack time. Regardless of the playing style, the dynamic auto timing of the compressor consistently delivers an exceptional sound quality by adapting to the input signal envelope.
The Becos CompIQ Mini One brings simplicity to the game, with just four controls. It also has an LED display for the gain reduction, rare in this price class.
The degree of compression is clearly indicated through a responsive 5-LED display, providing visual feedback regarding the extent to which the signal is reduced during compression. This highly valuable feature is consistently present across all our compressor models, including the MINI, and is probably unparalleled in other analog compressors of this size.
The True-Bypass routing ensures that the bass or guitar signal chain remains unaltered when the pedal is disengaged, even in the absence of power.
All analog, accurate, transparent compression
The CompIQ MINI ONE Pro Compressor is a carefully crafted audio processing device with an emphasis on enhancing the dynamic range of guitar and bass signals. However, its capabilities go beyond these instruments, as it can bring a new level of depth to any audio source with the aid of an appropriate preamp, even vocals. We believe that it is one of the most impressive mini effect pedals for guitar and bass, but its versatility extends to a multitude of other instruments, including electric acoustic guitars and basses, electric string instruments, harmonicas, brass instruments, synthesizers, and more. The CompIQ series of compressors is renowned for its exceptional qualities, which can benefit a wide range of musical applications.
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 stands out for its exceptional ability to preserve the authentic voice of your instrument, be it guitar, bass or other instrument. They deliver unobstructed, pristine audio compression, all while retaining the original tonal character of the instrument. Thanks to their high dynamic range, these compressors provide natural-sounding clean tones and minimal noise, which is a testament to their unparalleled audio processing capabilities. The CompIQ compressors are free from distortions that can hinder the overall sound quality, resulting in artifact-free and crystal-clear audio output.
Key features
- True analog bypass
- Blackmer® VCA analog compressor
- True RMS-level detector
- Ratio 1:1 – inf:1
- Sense Threshold Switch Presets: Low -40dB; High -30dB
- 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’s compression display
- 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 (not included), center negative, 12mm long barrel plug
- 3-years warranty (direct to manufacturer, international, transferable)
More info
Manual
Compare compressors
What people say
CompIQ 101
CompIQ MINI One Pro vs. other minions CompIQ MINI One Pro vs. others Check out our comprehensive technical comparison of top-performing mini compressor pedals on the market and see how the CompIQ MINI One Pro measures up.
The CompIQ series of compressors
Side-Chain Frequency Compensation
Compressor / Limiter
Dual Band / Stacking
2
Blackmer® VCA
Feed Forward
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
< 69mAh @ 9VDC
< 110mAh @ 18VDC
Compressor / Limiter
Single Channel
1
Blackmer® VCA
Feed Forward
True RMS-Level Sensor
Normal / Low / Deep
YES
-
-
Transformer Balanced / Unbalanced (Floating)
with optional
DITOS DI board-
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
Effect Hardwired ON
YES
On Dry Line
adjustable
Lo / Hi cut filters
(inside jumpers)
8-LED
YES
9-18VDC center negative
Ø 5.1/2.1mm, 12mm long
< 35mAh @ 9VDC
< 63mAh @ 18VDC
Compressor / Limiter
Single Channel
1
Blackmer® VCA
Feed Forward / Feed-Back
True RMS-Level Sensor
Variable
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
< 25mAh @ 9VDC
< 38mAh @ 12VDC
Compressor
Single Channel
1
Blackmer® VCA
Feed Forward
True RMS-Level Sensor
Normal
YES
-
-
-
-
1:1 to inf:1
Lo: -40dBu / Hi: -30dBu
Auto Slow
12ms
220ms
-6dB to +20dB
Hard
-
-
YES
-
-
5-LED
-
9-12VDC center negative
Ø 5.1/2.1mm, 12mm long
< 15mAh @ 9VDC
< 23mAh @ 12VDC
MINI Pro vs. other minions
Do you want to 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
Initially developed by David Blackmer, founder of dbx Inc., the original dbx 202 “Black Can” Voltage Controlled Amplifiers (VCAs) continue to be employed in operating consoles to this day. These pioneering VCAs, which were the first of their kind to be suitable for professional audio equipment, were constructed with a gain cell comprising eight discrete transistors. Subsequent advancements in integrated circuit technology have since overcome the limitations of earlier designs, resulting in significantly improved performance.
The CompIQ series of compressors, for instance, utilize THAT Corporation’s Blackmer® VCAs, which are distinguished by their exponential control characteristic (where gain varies directly in decibels), exceptionally wide dynamic range, and low signal distortion. These VCAs are notably neutral in their tonal character, and therefore, impart minimal or no coloration to audio signals.
RMS-Level Sensor
David Blackmer, the founder of dbx Inc., is credited with inventing the RMS-level detector. This device computes the Root Mean Square level of input signals in a logarithmic format that approximates the way in which the human ear perceives sound.The precise envelope decoded by this detector is subsequently employed to trigger the Voltage Controlled Amplifier (VCA) in accordance with user-defined parameters such as Ratio, Knee, SCF, Threshold, Attack, Release, and Gain.
Threshold Range
The Threshold control on the CompIQ line of compressors is designed to accommodate a wide range of input signals, ranging from very weak to pro-audio level signals. The top end of this range corresponds to the +4dB pro signal line level, located at the far clockwise end of the Threshold knob. This generous headroom helps to prevent distortion caused by high-level spikes, which was a deliberate design choice. Some compressors are prone to distortion due to insufficient headroom, but this is not the case with the CompIQ line of compressors.
This product line is designed to accommodate both lower and hotter signals, making it suitable for use with synths and other line-level devices. This design choice was made to ensure that the compressors can be used for a broad range of applications. In contrast, some compressors have a very low threshold set hard within the circuit and are controlled solely through “compression variation”. This is equivalent to setting the CompIQ compressors to their lowest threshold and varying the compression amount using the Ratio control.
It is worth noting that the range of a pickup signal typically falls within the lower 25% of the pro signal level, which is also covered by the first quarter of the Threshold knob’s rotation range. Compression or limiting should only occur on peaks, and the optimal threshold point for a pickup signal is generally between -30 to -20dBu.
When compressing peaks, the Threshold knob should be set at around 9 o’clock or slightly above to achieve the desired effect. Higher compression ratios are not necessary at this level, unless limiting is the goal. If a more pronounced compression effect is desired, the threshold should be set below 9 o’clock. As the threshold is lowered, smaller compression ratios should be used to avoid excessive squashing of the pickup signal, unless this effect is intentionally desired. This is similar to the “New York compression style”, which involves compressing a signal with a high ratio and low threshold, and then blending the compressed signal with the unprocessed signal to achieve a balanced dynamic range.
Side Chain Filter
The Side Chain Filter is a feature that varies the compression triggering behavior based on frequency. Its purpose is to avoid compression being triggered by high-amplitude low-frequency content, which can prematurely squash higher frequencies and result in a muffled sound with fewer highs. To address this issue, we have implemented a downward filtering of the side-chain from 1kHz, as depicted in the accompanying graph. By filtering out the lows in the side-chain, compression is no longer triggered for those specific frequencies in the VCA that the program sound is passed through. As a result, the lows are louder and less compressed at the output of the compressor, which produces a distinctive sound characteristic perceived as fuller, more natural, or punchier.
The utilization of the SCF (Side Chain Filter) provides the capacity to mitigate the undesirable pumping artifacts that frequently occur when applying a “high ratio / low threshold” compression technique. The resulting compression sensation from the SCF is distinct from other methods of removing pumping, such as raising the threshold, lowering the ratio, utilizing soft-knee compression, or blending dry over wet signals, or a combination of these techniques. Incorporating the SCF with other controls allows for greater flexibility in how the compression is employed on various audio content.
Side Chain Frequency Compensation
Frequency compensation refers to the process of adjusting the audio spectrum presented to the Side Chain Detector. In music, each note has a dominant frequency and harmonics, with the dominant frequency being higher in amplitude than its harmonics. As notes move lower in the audio spectrum, such as those played on the lower strings of a guitar, their dominant frequency becomes more prominent in amplitude, which can trigger compression too early and over-compress the harmonics or higher notes. This effect is perceptible to the human ear. To address this issue, we apply progressive filtering to the low-frequency triggering potential, starting at 20KHz and gradually filtering downwards using additional high-pass filters at 1KHz. This progressive compensation helps to prevent the “pumping” often encountered in compressors and results in a more natural and dynamic processing, which is especially noticeable in percussive instruments or those rich in low frequencies, such as bass.
The standard side-chain roll-off curve utilized in all of our compressors is designed to deliver a compression response that aligns with the human ear’s perception of sound, making it a versatile option. It’s worth noting that this roll-off curve is also progressive, with a reduction of -12dB at 2KHz compared to 20KHz.
CompIQ Stella and CompIQ Twain compressors offer two additional options for the Side Chain Filter: Low (-12dB per octave at 90Hz) and Deep (-12dB per octave at 200Hz) in addition to the Normal curve, which provides a general-purpose compression response based on human auditory perception. The newly introduced variable SCF option on the CompIQ Mini can be adjusted by turning the knob fully clockwise to free up -12dB per octave at 90Hz. This feature caters well to guitar and bass instruments, as well as other instruments generating high amplitude low-frequency waveforms. When the SCF knob is set at noon, the side-chain detector is presented with a flat copy of the input signal, referred to as Normal processing. However, when the knob is fully counterclockwise, the SCF boosts low frequencies below 90Hz with up to +12dB per octave, making the compressor more sensitive to signals generated by some instruments like single coil guitars.
Crossover
The CompIQ Twain boasts a first-order Linkwitz-Riley crossover with a variable range of 70Hz to 1KHz, dividing the input signal into two distinct frequency bands processed by the dual compression engines. Additionally, the crossover output feeds the Dry Line, enabling seamless mixing of Dry and Wet signals without any phase cancellations, regardless of the crossover’s position.To provide visual representation, we have included a chart demonstrating the matched levels of both the internal and external circuits with the crossover set to 1KHz, the output set to buffer level, and Mix adjusted to 100% Wet. It is evident from the chart that the phase of each signal component aligns almost perfectly across the audio spectrum.
It is worth noting that the input signal’s phase is a straight line, while the output signal’s phase progressively twists from lows to highs, ranging from almost 0° on the extreme lows up to 400° on the extreme highs. This phenomenon is normal and is the result of the signal being separated by the crossover’s band filters and then recombined at the output after passing through the compression engines. Therefore, when switching from Bypass to Effect, there may be a perceived delay in frequency despite no audible loss of frequency throughout the audio spectrum.
The following drawing illustrates the Crossover Knob Frequency Scale and the most suitable setting for utilizing the Saturation feature.
CompIQ Twain Crossover Frequencies & Best Saturation Range
Tape Saturation Lo & Hi-Cut filters
The CompIQ Stella and CompIQ Twain compressors both offer an analog Tape Saturation circuit that exclusively affects the Dry signal. This allows the user to add optional saturation to the signal, which can then be blended with the compressed Wet signal to imbue harmonic distortion and warm up the audio, all while maintaining the dynamics of the compressed signal. However, it’s important to note that the saturation circuit has a high headroom, meaning some saturation must be dialed in before the effect becomes audible.For the CompIQ Stella, the LPF and HPF can be activated by removing the corresponding internal jumpers. Meanwhile, the CompIQ Twain provides variable filters that can be accessed via small trim knobs. The HPF is available for the Lows band, while the LPF is available for the High band. In both compressors, the HPF is situated before the Saturation engine, while the LPF comes after.
The effect of the filters on the frequencies of the Dry line can be observed in the illustration below.
The implementation of the Low and High cut filters is recommended only in conjunction with the Tape Saturation feature. Otherwise, the filters may have an effect on the clean, dry signal, although this may be an intentional use of the Dry/Wet Mix control. The filters were introduced to provide flexibility for processing various audio sources while maintaining musicality, without introducing undesirable artifacts such as muddiness on the low end (particularly with bass) or harshness on bright guitar pickups. X-EQ
The X-EQ section of the circuit is located after the compressor and before the Mix control, making it exclusively effective on the wet signal. As dry unprocessed signals are mixed with the wet, compressed, and processed signals, the X-EQ effect gradually diminishes.The Stella’s X-EQ is equipped with two frequency pivot points suitable for accommodating either bass (330Hz pivot point, corresponding to the highest note on a 4 or 5 string bass) or guitar (1KHz pivot point, corresponding to the highest note on a 20-fret guitar). In extreme X-EQ knob settings (fully clockwise or fully counterclockwise), there is a total 12dB difference between low and high frequencies. In the central position of the X-EQ knob, no frequency alterations occur. The X-EQ section can be bypassed entirely by adjusting a jumper’s position within the pedal.
Line-level signals
The CompIQ compressor series provides a maximum input signal level of +5dBu to +10dBu, depending on the model and power voltage, without introducing distortion. The compressors have a 50dB threshold range, ranging from -40dB to +10dB, which accommodates average magnetic pickup levels and line-level signals. They can be utilized for line-level FX Loops or for feeding high impedance or line-level inputs on recording interfaces. The compression is highly precise due to the RMS-level detector, and the LED indication is likewise precise if the input signal is around the calibrated reference level. The CompIQ series utilizes a “0dB reference input level” internally set at -20dBu (77.5mVrms). The amount of compression (inf:1 Ratio) is determined by the input signal level and is generally 20dB for input signals around -20dBu (77.5mVrms) and 36dB for +4dBu (1.23Vrms) input signal levels.
Compressor noise
Compressors typically experience an increase in noise due to the amplification of make-up gain. As compression increases, more make-up gain is required, which adds amplification noise to the signal. This noise is then amplified by any subsequent pedals or amplifiers in the signal chain. Additionally, any amplification device preceding the compressor may introduce noise, which is subsequently amplified by the make-up gain circuit.
It is crucial to recognize that if a compression setting necessitates a significant amount of make-up gain, the amplification noise will be substantially higher and noticeable during periods of signal absence. The signal-to-noise ratio is particularly low during pauses, where the noise level may surpasse that of the signal, resulting in negative SNR. It is unrealistic to anticipate an absence of noise when adjusting the gain by +20dB. However, compressing the signal at -20dB and then restoring it with a gain of +20dB will result in barely perceptible amplification noise, albeit still evident. If the maximum make-up gain is required, the compressor is in hard-limiting territory and it should be applied only to peaks and not to the entire signal.
To accurately compare compressors for noise, it is imperative that they are configured with the same threshold, ratio, and make-up gain, and fed the same reference signal. Some manufacturers restrict the ratio of their compressors to as low as 3:1 or 7:1, resulting in “very quiet compressors” since they do not require as much re-amplification. It is important to note that the term “quiet” is subjective and may be misleading.
In particular, with the CompIQ Twain, the Stacked Mode can generate unnecessary noise if not set up correctly. The Twain Settings Examples explain how to control amplification noise in this mode, primarily by adjusting the compression and make-up gain in the second (highs) engine more than in the first (lows) engine. You can also pass some of the frequencies to compress to the second engine by raising the lows threshold, using the Low or Deep side-chain filter, and using the soft knee to mitigate noise or compression feel. These controls can be combined in both engines to find the optimal setting for your specific application.
Dual-band processing is generally more challenging and requires a specialized type of compression. It is essential to understand that what works for full-band compression cannot be directly applied to dual-band compression. Furthermore, the crossover used in dual-band compression is always-on and composed of numerous passive components that inherently generate thermal noise. This noise is also amplified with the make-up gain, a phenomenon that applies to all dual-band compressors.
An effective strategy is to comprehend how the compression controls such as threshold, ratio, knee, timing, blend, side-chain filter, and gain impact compression in general and identify the desired outcome. You can combine these parameters to configure compression in a manner that reduces the need for high make-up gain.
It is important to note that the level of noise generated by the makeup gain is typically lower when dealing with higher input signal levels, as the signal itself is larger. Additionally, when employing a limiting setup with a higher threshold, hard knee, and inf:1 ratio that solely affects the peak of the signal, any resulting noise will be inaudible.
When working with weak magnetic pickup signals, employing a ratio of around 4:1 and a low threshold on the CompIQ can generate a fair amount of compression, while still maintaining a noise level similar to that of studio-grade equipment. To further minimize noise, the MIX control can be utilized to blend in dry signal, while a soft knee can help to reduce the need for makeup gain, thereby reducing potential noise.
Power sources can be a significant source of noise when operating electronics. It has been observed that switching power supplies generally introduce hissing sound to the system. To mitigate this, we strongly recommend the use of well-filtered and regulated power sources of good quality. It should be noted that most pedals are not designed to accommodate large capacitors and other necessary electronics required for effective power conditioning. As such, they are not intended to function as power source filters.
Switching noise
It is possible for pops or static noise to manifest when adjusting certain settings while the pedal is engaged. These settings include the knee, timing, side chain filter, EQ pivot, dual-band/stacked mode, and power on/off.
Gain Reduction Meter
The CompIQ line offers a gain reduction meter for all of its compressors, which indicates the amount of compression applied to the input signal in dB. However, the metering ladder varies depending on the product and has a limited number of LEDs. As a result, compression may be “invisible” between LEDs. For optimal metering, a minimum of 20 LEDs is recommended.
Each product’s metering is designed and calibrated to reference comparators to 9-12VDC, providing an accurate indication of gain reduction. However, the CompIQ Twain can also operate at 18VDC. When powered at 18VDC, some calibrated thresholds for metering may shift, resulting in a metering indication of around -3dB less. Although proper powering of an electronic circuit is with a fixed voltage +- some tolerance, 80-100% voltage up shifting shifts some calibrations within the blocks of circuits inside. While the audible side of the change may be favorable, the metering’s precision is affected and introduces variation.
In some circumstances outside of normal usage, such as when powering the pedal at a higher voltage and switching the knee, the meter LEDs may remain “locked” lit. This is due to an electric spike introduced by switching the knee, which triggers the LEDs briefly, even if no input signal is present. To prevent this, it is recommended to switch the knee when there is no input signal but with the input and output plugs inserted in the pedal.
To switch off the remaining lit LEDs, the pedal must be powered off and on again or played with a signal higher than the remaining lit LEDs, which resets the comparators. Alternatively, the pedal can be powered with 9-12VDC instead of 18VDC.
Powering voltage range for the CompIQ line of compressors
The CompIQ line of pedals can operate within a power range of 9-18VDC. However, to ensure optimal performance and protect the circuits from power supply failure, we have conservatively designed and calibrated certain portions of the circuits, such as the gain reduction meter, to run in the 9-12VDC range. It is imperative to use high-quality, regulated power sources as exceeding the 18VDC maximum could cause active components to fail.
To prevent voltage spikes when connecting the pedals to the power supply, it is recommended to pre-connect the pedals before powering on the power supply. It is also advisable to power the entire pedalboard at once by switching on the AC switch on the power supply or plugging it into the AC wall wart, as this helps to control the current draw and regulate the voltages at each available power output.
Although the circuits in our pedals include reverse polarity protection, there are limits to what these protections can handle. Therefore, it is essential to use caution and only use power supplies that fall within the recommended voltage range to ensure optimal performance and protect the longevity of the circuits.
Demos, reviews & comments
Blog post: The 101 of the CompIQ line of compressors
CompIQ STELLA
CompIQ MINI
CompIQ ONE
CompIQ TWAIN
Ziffer Overdrive
Overdrive / Switcher
Micro Booster
DITOS DI Board
