Description
Studio-level audio performance in a pedal format
The CompIQ STELLA Pro Compressor is an all-analog, battery-operated, compressor pedal designed for guitar and bass and hand-built around the top-class THAT Corp. 4320 Analog Engine® – the same technology used in rack compressors made by the likes of DBX, Presonus, Dangerous Music or Revive Audio. A true RMS-level detector measures input signal and applies accurate feed-forward compression through a transparent sounding, high-performance Blackmer® VCA. 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 dynamic processing.
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, providing accurate 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. It preserves 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 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
CompIQ STELLA
CompIQ MINI
CompIQ MINI ONE
MIDI OD / Switcher
Micro Booster
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