Name: CompIQ STELLA Compressor Pedal for Guitar & Bass
SKU: CIQ-5
Price: 249.00 EUR
Availability: InStock
Rating: 5 (1 reviews)

Description

Studio-level audio performance in a pedal format

The CompIQ STELLA Pro Compressor is an all-analog externally powered or battery-operated compressor pedal designed for guitar and bass and hand-built around the top-class 4320 THAT Analog Engine^®. The amount of control it offers is staggering and probably never before seen in a compression pedal, especially of this size. We didn’t leave out anything that helps to bring out a truly clean, accurate and transparent compression. 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.

Full control over compression parameters

With so many controls, one may wonder how can this be tamed and furthermore, properly used in a live setup. Don’t let yourself overwhelmed. We provided sufficient options not only for in-depth control but also for making things easier. For instance, with the flip of a switch, you can take out the Manual Attack & Release controls (the most daunting of the art of compression) and let the Dynamic Auto Timing analog circuit do the right thing for you. Two choices are available for here, Fast or Slower timings, and both respond gracefully to any playing style. In both settings, transients are handled faster while steady signals benefit from longer release timings.

However, using the manual control of Attack and Release timings will expand the compression flavors by an order of magnitude. To mention just a simple trick: delay the attack time a little while bringing back a faster release time and you will end up with a punchy and proper sound for country chicken pickin’ or for instrumental stand-out soloing. Combine this with the Side Chain Filter and the Tilt-EQ and increase your options even further. All these together will also remind you of an optical-soul type of compression, demonstrating the tremendous versatility of this pedal.

The full-scale Ratio (1:1 to infinite:1), the instrument to line-level Threshold (-40dB to +10dB) range, and up to +20dB of Makeup Gain, all in continuous controls, add to the plethora of switchable options to further attain the ideal compression for any musical program.

A Dry/Wet Mix allows for parallel compression (a.k.a. the New York style), where the desired amount of unprocessed input signal is mixed with the compressed signal, for a more natural effect application.

Compression subtleties

Additional features are available for the very demanding players. The Side Chain Filter has three selectable options – Normal, Low and Deep -, very helpful for bass instruments or when a fuller output is needed. To keep things simple, set the filter to Normal and the compressor will just act naturally in most instances. The Normal 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. If lower-frequency notes trigger compression yet too fast, then the Low (-12dB@90Hz) or Deep (-12dB@200Hz) high-pass filters will slightly delay the compression, freeing up the low-end just enough for the spectrum to breath out and prevent the early or over-compression of highs.

The Compression Knee can be selected between Hard and Soft, each option having its own sonic signature. Hard Knee compression acts fast and squishes hard. Use this if you aim for limiting or in-your-face compression effect. Soft Knee compression acts progressive and gentle, helping to create a transparent effect application, even at the highest ratio.

The Tilt-EQ gentle equalization circuit has two selectable options for pivot frequency – High (at 1KHz) proper for guitar and Low (at 330Hz) suitable for bass. This is a post-compression applied correction, that can be either necessary for compensating from one instrument to another, or desired, for your particular sonic signature.

Harmonic coloring

On top of all these, we added an analog Saturation circuit which can add harmonic distortions to the dry line (only), which can then be mixed with the compressed wet line, for precise balancing of the effect. This circuit rivals the vintage studio tape-overload compression effect which was a studio recording trick during the ’60s. Tape saturation is a pleasing sort of distortion arising when high amplitude audio signals are recorded on magnetic tape.

The Saturation control can vary in intensity from nothing to mild and up to warm but powerful overdrive. The result is either subtle, adding richness to the sound peaks, or obvious, with a tube-like screaming distortion feel when all audio spectrum is saturated. If needed, Low and High-frequency cut filters can be engaged by removing two internal jumpers. This helps eliminate oversaturated low-frequency fuzziness or prevent high-frequency from sounding too pointy. The auxiliary Level control on the dry line will compensate for the volume loss introduced by a higher saturation setting. This parallel processing is delicately brought together and leveled up with the Mix blend knob, similarly with using a dedicated studio summing amplifier. The parallel tape saturation feature also transforms CompIQ Stella into a compressor/overdrive effect.

Ultimately, a 6-LED compression display indicates the amount of effect applied to the input signal (or gain reduction), providing visual feedback over how much the sound is processed.

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.

Hear the sound on bass

Sound samples courtesy of Test de matériel from France. Alternating compressor Off and On, with or without Tape Saturation. Scroll below for a video review-demo on guitar, made by Brett Kingman in Australia.

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 -6dB to +20dB
Tilt-EQ with selectable frequency pivot 330Hz/1KHz (EQ bypass – jumper selectable)
Manual Attack 0.12 – 12 ms/dB
Manual Release 1.2 – 120 ms/dB
Soft/Hard compression knee
Manual timings or Fast/Slower dynamic auto attack and release timings
Normal/Low/Deep side-chain filter
Dry/Wet mix
Tape Saturation on the dry line with Level compensation and Low/High-frequency cut filters (jumper selectable)
6-LED compression display
Socketed hi-quality FET audio IC, low tolerance parts and WIMA or KEMET audio capacitors
Genuine Hammond black-powdered aluminum enclosure
Runs on standard 9V internal battery or 9-12 V DC external power supply, center negative, 12mm long barrel plug (not included)
2-year warranty

More info

Manual

Additional information

Weight	0.4 kg
Dimensions	11.2 × 6.8 × 5 cm
Features Summary	True analog bypass Blackmer® VCA analog compressor True RMS-level detector Ratio 1:1 – inf:1 (limiter) Threshold -40dB to +10dB Make-up Gain -6dB to +20dB Tilt-EQ with selectable frequency pivot 330Hz/1KHz (EQ bypass – jumper selectable) Manual Attack 0.12 – 12 ms/dB Manual Release 1.2 – 120 ms/dB Soft/Hard compression knee Manual timings or Fast/Slower dynamic auto attack and release timings Normal/Low/Deep side-chain filter Dry/Wet mixTape Saturation on the dry line with Level compensation and Low/High-frequency cut filters (jumper selectable) 6-LED compression display Socketed hi-quality FET audio IC, low tolerance parts & WIMA audio capacitors Black powdered, genuine aluminum Hammond enclosure Runs on standard 9V internal battery or 9-12 V DC external power supply, center negative plug (not included) 2-year warranty Product weight: 0.26Kg Shipping weight: 0.40Kg MSRP: 259 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: -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 Dynamic Auto Attack time: ~7ms in Fast setting; ~15ms in Slower setting Dynamic Auto Release time: ~70ms in Fast setting; ~220ms in Slower setting Dynamic Timing: transients are handled faster; steady signals are handled slower Manual Attack range: 0.12 to 12ms/dB Manual Release range: 1.2 to 120ms/dB Side-chain high-pass filters: Normal (non-linear, easy-slope, high-pass above 1KHz), Low (additional -12dB@90Hz), Deep (additional -12dB@200Hz) 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 6-LED Display: calibrated for 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 Internal battery operation: 9V (6F22) alkaline battery recommended External power voltage: 9-12VDC DC power connector polarity: center negative [ – ] DC Power Plug Barrel: Ø 5.1/2.1mm, minimum 12mm long Current consumption: < 29mA Product weight: 0.26Kg Shipping weight: 0.40Kg

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

Fast / Slower
both bands

Auto F / S: 5‐7ms / 10-15ms

Auto 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

< 49mA

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

Fast / Slower

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

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

-6dB to +20dB

Hard / Soft

Tilt-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

YES

1:1 to inf:1

-40dbu to +10dBu

Fast / Slower

Auto F / S: 5‐7ms / 10-15ms

Auto 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

MINI 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

Slower

Auto: 10-15ms

Auto: 100‐220ms

-6dB to +20dB

Soft

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 PRO Stella 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, 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.

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 biger and biger 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 human ear. To overcome this, we compensate 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. In CompIQ PRO 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.

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

Premier Guitar Magazine – CompIQ STELLA – Pedal Showcase
Guitar Magazine – CompIQ STELLA – Review
Premier Guitar Magazine – CompIQ MINI – Quick Hit 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

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CompIQ STELLA Compressor Pedal for Guitar & Bass

Description

Studio-level audio performance in a pedal format

Full control over compression parameters

Compression subtleties

Harmonic coloring

Pristine audio processing

Hear the sound on bass

Key features

More info

Additional information

COMPIQ 101

Modal Title

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VIDEO DEMO

Watch video demos for CompIQ STELLA Pro Compressor

IN THE PRESS

Read the reviews for CompIQ STELLA Pro Compressor

WHAT USERS SAY

51m0n - Basschat.co.uk

Decebal Badila - Musician / Jazz Artist / Bass Player

Geolikezik - Audio Fanzine (FR) & Bassonly.com

Chris T. - Talkbass.com

Georges E.

Terence Stanley - Guitar Magazine

Anonymous

Fuzzbass - Talkbass.com Forum

Richard Purvis - Guitar Magazine UK

Brett Kingman - Gear Reviewer / Australia

Mike's Gear Bazaar - Reverb.com

Marco B.

B. Florian

Opticaleye - Basschat.co.uk

Michael Astley-Brown - Total Guitar, Guitarist

Richard Bienstock - Guitar World

Stefan Karlsson - GuitarPedalX

L. D. Brown - Talkbass.com

L. D. Brown - Talkbass.com

J. F. Untrau - Onlybass.com

C. V. Sorin - Customer Satisfaction Survey

- B. Pomerantz - Reverb.com

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