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CompIQ MINI Compressor Pedal for Bass & Guitar

159.00

CompIQ MINI Pro Compressor is a unique featured compressor / limiter pedal, with qualities rivaled only by expensive studio gear. It provides the amount of control and versatility needed for professional audio processing while preserving the musical response and transparency of analog circuitry. A good understanding of audio compression is normally required to optimally set it up for live performance or studio recording.

Compressor Pedal Reviews - CompIQ MiniThis micro pedal packs more tweak-ability options than you would find in many compressor pedals more than twice its size.

Premier GuitarIf you crave control and nuance, then this might be the squish box for you.

This mini compressor pedal is a mighty weapon of dynamic processing.

 Manual
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 What people say
 CompIQ 101
 CompIQ MINI Pro vs. other minions

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SKU: CIQ-2 Categories: ,
BECOS Effects

Description

A studio-grade mini compressor pedal

CompIQ MINI Pro is an all-analog compressor pedal designed for guitar and bass and hand-built around the top-class 4320 THAT Analog Engine®. It provides the essential controls for achieving professional-level audio compression, something never before seen in a package of this size.  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.

CompIQ MINI features Ratio, Threshold, Gain, Dry/Wet Mix, which all interact with each other and offer the manual continuous controls necessary for a balanced and refined compression setting. Not often found in compression pedals, Compression Knee can be selected between Soft or Hard to best suit any musical needs. Soft knee provides a subtle and more transparent effect application. Hard knee compression is in-your-face obvious and is better suited for country pickin’ or bass slappin’ playing styles, when dynamic output must be an effect in itself. CompIQ MINI Pro also makes up for a perfect limiting effect or act as a compressor/sustainer pedal, when a high ratio, higher threshold, and hard knee are balanced all-together.

The compressor’s Side Chain Filter processing has two options. The Normal setting presents a non-linear characteristic above 1KHz, which balances the potential trigger-difference between the energy of low and high frequency. Such a feature which resembles the human hearing is usually available only in high-end studio compressors, and it is intended for a natural effect application even on high compression ratios. Additionally, the Deep setting introduces a Side Chain Filter with a gentle high-pass slope (reaching -12dB at 130Hz) which is very suitable for bass instrument. This setting option helps prevent the triggering of the compression too early by the high amplitude of the low-frequency content. As a result, a part of the lows pass through without being compressed, giving the sound more energy and a natural punch.

Premier Guitar - Becos CompIQ MINI Pro Compressors Quick Hit ReviewIt’s easy to see how the CompIQ Pro would be a welcome addition to any board—cramped or not. If you crave control and nuance, then this might be the squish box for you.

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. Two timing options are available – Fast and Slower -, each selection handling both, attack and release timings. Fast attack and release times will create the impression of a modern sound that is crisp, punchy and detailed. When combining fast timings with a hard knee compression setting, you enter the limiting territory. This is where the blend knob is best used for parallel compression (a.k.a. New York compression style). Slower timings are suitable for slow musical phrasings like bass lines or arpeggiated chords. But really, there are no rules here, just experiment and let the ear be the judge. Regardless of the playing style, the dynamic auto timing of the compressor will always sound great. Fast transients are released faster, while steady signals decay slower. On average, the release time is 10-15 times the attack time, in each setting.

The amount of compression (or gain reduction) 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 Pro Compressor was designed with guitar 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 bass compressor effect pedals. Many instruments that can benefit from CompIQ qualities: electric guitar & bass, electric acoustic guitar & bass, electric string instruments, harmonica, brass instruments, synthesizers, etc.

Extensive review of CompIQ MINI Pro Compressor on TalkBass.com Forum There are other small format compressors on the market but I’m not aware of anything that comes close to the punch Becos packs into the CompIQ MINI Pro. It works great with bass. This little pedal rivals many full-featured compressors on the market at a fraction of the size.

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 (limiter)
  • Threshold -40dB to +10dB
  • Make-up Gain -20dB to +20dB
  • Soft/Hard compression knee
  • Fast/Slower dynamic attack and release timings
  • 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
 Video demo | More
 Compare compressors
 CompIQ MINI 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), Threshold (-40dB to +10dB), Make-up Gain (-20dB to +20dB), Dry/Wet Mix
Soft/Hard Compression Knee selector
Fast/Slower Dynamic Timing selector
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: 169 Euro;
Made in EU/Romania;

Technical Specifications

Input impedance: 1MΩ
Output impedance: less than 100Ω
Ratio: 1:1 to inf:1
Threshold: -40dB to +10dB
Make-up gain: -20dB 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: ~7ms in Fast setting; ~15ms in Slower setting
Release time: ~70ms in Fast setting; ~220ms in Slower setting
Dynamic Timing: transients are handled faster; steady signals are handled slower
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
EQ Bypass
Dry/Wet Mix
Saturation
Saturation EQ
Compression Display
9V Battery Operation
External DC Power
DC Power Plug Barrel
Current Consumption
Compressor / Limiter
Dual Band / Stacking
2
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
Compressor / Limiter
Single Channel
1
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
YES
On Dry Line
adjustable
Lo / Hi cut filters
(inside jumpers)
8-LED
YES
9-12VDC center negative
Ø 5.1/2.1mm, 12mm long
< 29mA
Compressor / Limiter
Single Channel
1
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
Compressor
Single Channel
1
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
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
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. Side Chain HPF Options in CompIQ PRO Stella Compressor (-12dB at 90Hz & -12dB at 200Hz)

The Normal side-chain rolloff curve above is particular to all our compressors,  providing a general-purpose type of compression response that 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.

Crossover
The CompIQ Twain features a variable 70Hz to 1KHz Linkwitz–Riley type of crossover which splits the input signal into two frequency bands which are processed independently by the two compression engines. The output of the crossover also feeds the Dry Line, so mixing the Dry and Wet signals is possible without phase cancellations, regardless of the crossover’s set point.

Below is a plot showing matched external and internal circuit levels with the crossover set at 1KHz, the output set at the buffer level, and Mix set to 100% Wet. As you can see, the phase of each signal component is almost perfectly aligned in the audio spectrum.

Twain Crossover Phase Shift Plot

It is worth noting that while the input signal’s phase (dotted green) is a straight line, the output signal’s phase (dotted red) is progressively twisted from lows to highs (from almost 0° on the extreme lows up to 400° on the extreme highs). This is normal and is the result of the signal being separated by the crossover’s band filters, and then being re-combined at the output, after passing the compression engines. As a result, when switching from Bypass to Effect, the ear perceives the frequency delays although there is no audible loss of frequency throughout the audio spectrum.

Bellow is a drawing showing the Crossover Knob Frequency Scale and the most appropriate setting for using the Saturation feature.

CompIQ Twain Crossover Frequencies & Best Saturation Range

CompIQ Twain Crossover Frequencies & Best Saturation Range

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 or as low as 3:1 and those indeed make for “very silent compressors”. Of course in this regard the “silence” characteristic has a subjective meaning, if it’s not a misleading statement. As far as CompIQ compressors go, these are the facts:

  • 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.
Switching noise
Pops or static noise may occur when switching the following settings with the pedal engaged:

  • Knee
  • Timing
  • Side Chain Filter
  • EQ Pivot
  • Dual-Band/Stacked
  • Power On/Off
Gain Reduction Meter
The gain reduction meter is available for all compressors in the CompIQ line. They measure how much compression is applied to the input signal. The indication is in dB. Depending on the product, the metering ladder is differently configured. Keep in mind that due to the limited number of LEDs in the meter, the compression is “invisible” in between the LEDs. Ideally, a full meter scale would have a minimum of 20 LEDs, one for each dB of reduction.

The metering in each product was designed and calibrated to reference the comparators to 9-12VDC for an accurate gain reduction indication. However, the CompIQ Twain can also be powered at 18VDC. At 18VDC, several thresholds that are calibrated for metering are a bit shifted, and as a result, the metering shows around -3dB less in the meter. Usually, a proper powering of an electronic circuit is with a fixed voltage +\- some tolerance. But 80-100% voltage up shifting, also shifts some calibrations within the blocks of circuits inside. While the audible side of the change is for the better and likable, the precision of the metering reacts to this shifting and introduces a variation.

There is a possibility that the meter LEDs remain “locked” lit in some conditions outside the normal usage of the pedal. For example, this may happen when powering the pedal at a higher voltage and switching the Knee in some particular circumstances such as when the knobs are set for compression but no input signal is present or input cable’s jack is not inserted in the pedal.

The gain reduction meter needs an input signal that goes up and down against the thresholds on each LED in the meter and while they are lit by a raising signal, they must also be switched off by a decaying signal. The electric spike introduced by switching the knee (which is a change of the operation mode of a portion of a circuit while also setting the rest of the controls for compression) varies very shortly and it does trigger the LEDs although no signal on the input of the metering circuit is present so that the LED’s are reset. Nothing is broken and nothing breaks – is just a condition you put the circuits in, but that condition is different from the intended usage of the pedal.

To prevent that, switch the knee when you don’t play but you must have the input and output plugs inserted in the pedal. To switch off the LEDs that remain lit, power off the pedal and then on again OR, play your instrument with a signal higher than the LEDs on the display that remain lit. This way the circuit sees the decaying signal and the comparators are reset. Alternately, power the pedal with 9-12VDC instead of 18VDC.

Powering voltage range for the CompIQ line of compressors
Although all CompIQ line of pedals can be powered in the 9-18VDC range, we conservatively designed and calibrated some portion of the circuits (like the gain reduction meter) to be run in the 9-12VDC range. The headroom is more than enough at these voltages, and we can also protect the circuits in the long run from accidental failures of power supplies.

Please be sure you only use good quality and regulated power supplies because the 18VDC is the absolute maximum for some of the ICs inside. And although they might still support some minor voltage spikes, say at up to 10% you might still be safe, if the power supply spikes more or fails altogether and bursts a constant 20ish Volts into the pedal, then those active components might fail.

The circuits have other protections as well, like reverse polarity, yet there is a limit these protections can handle. That is valid for all our compressors.

Demos, reviews & comments

Blog post: The 101 of the CompIQ line of compressors

DEMOS & REVIEWS

Slide to watch video demos and independent reviews for CompIQ MINI Pro Compressor

Acoustic Guitar Demo

Recording acoustic guitar with CompIQ MINI Pro Compressor

Jazzy Humbuckers Demo

CompIQ MINI Pro Compressor on Gibson ES-335

Single Coils Demo

CompIQ MINI Pro Compressor on Fender Custom Shop

Tele Pickups Demo

CompIQ MINI Pro Compressor on Fender Telecaster

Review Demo

CompIQ MINI Pro Compressor reviewed by Mark Smith of Talkbass.com

Prashant Aswani CompIQ Poster
Jordan Ziff Poster CIQ-2
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COMPARE COMPRESSORS

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

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
EQ Bypass
Dry/Wet Mix
Saturation
Saturation EQ
Compression Display
9V Battery Operation
External DC Power
DC Power Plug Barrel
Current Consumption
Compressor / Limiter
Dual Band / Stacking
2
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
Compressor / Limiter
Single Channel
1
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
YES
On Dry Line
adjustable
Lo / Hi cut filters
(inside jumpers)
8-LED
YES
9-12VDC center negative
Ø 5.1/2.1mm, 12mm long
< 29mA
Compressor / Limiter
Single Channel
1
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
Compressor
Single Channel
1
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

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