Built around the top-tier Analog Engines® from THAT Corp., the CompIQ TWAIN offers compression parameters that are usually available on professional studio equipment. In addition to its dual-band processing capabilities, the pedal’s two autonomous analog engines can be fully merged in series to attain the warm compression character typically found in slow optical compressors – a distinctive attribute, previously unavailable with this degree of customization.
If you feel like your stompbox compressor doesn’t give you enough control, this could be the answer to your prayers and then some. The Twain is more like a multi-band mastering compressor than the units most guitarists will be familiar with. It’s ideally suited to the twin challenges of wider frequency and dynamic range presented by active basses. A remarkably versatile compressor pedal with a low noise floor and pristine audio quality.
The CompIQ TWAIN goes beyond the traditional boundaries of compression and extends its capabilities to include EQ/Preamp functions that enhance the tonal qualities of the instrument, without the requirement of a dedicated EQ. Through a strategic unbalancing of the processing levels on each frequency band, users can effortlessly accentuate or attenuate Lows or Highs, while the Cut filters or Boost levels of the Saturation section can be leveraged to achieve this effect on the Dry-line, allowing for the independent blending of Lows and/or Highs over the compressed Wet-line. This processing technique endows the tone with a dynamic character, and by carefully balancing the levels, the original tonality of the instrument can be preserved. This attribute is particularly useful in Stacked processing mode, where specific frequencies can be accentuated for a more elastic compression feel.
The preamp section in the CompIQ TWAIN facilitates the trimming of the input signal level, enabling control over the extent to which the compressors are engaged up-front. Strong signals may activate compression prematurely, and as such, the preamp offers up to -9dB of padding to address this. Conversely, weaker signals can be increased by up to +6dB of gain. The preamp applies to both the Wet and Dry line at the same time, and as the saturation engines also respond to input signal level, the trimmer can sometimes function as a one-knob balancer when switching between instruments.
The Low frequency processing benefits from a Side-Chain Filter with three presets. This is particularly helpful in recovering punchy transients that are lost during higher compression, but it can also be utilized as a standalone blooming audio effect. It is also useful in Stacked mode where side chains only see a plain and flat copy of the input signal. By gently pushing the compression from the low-frequency spectrum towards the higher frequencies, the audio becomes more percussive and fuller sounding. In the Low (L) mode, the side chain’s first-order filter introduces a progressive attenuation into the control signal cutting -12dB@90Hz (-12dB per octave filter). This is adequate for freeing up the momentary strokes on a bass guitar or for percussive playing in general. If even more attenuation is required in the side-chain, the Deep (D) filter dives to -12dB@200Hz (-12dB per octave filter), making this setting more suitable for guitar or for bright basses. In Normal (N) mode, the side chain is configured to command compression in a way that is suitable for most applications in general, while still employing the balancing of frequency trigger potential throughout the audio spectrum. The frequencies filtered out by the side chain filter come out less compressed at the output of the compressor which are still being affected by the make-up gain.
The CompIQ TWAIN offers independent band-controls for Hard/Soft Compression Knee, a Threshold range of 50dB that accommodates not only instruments but also line-level sources, continuous Ratio selection from 1:1 and up to limiting, and up to +20dB of Make-up Gain.
The inclusion of Dynamic Auto Timing (Fast / Slower presets) for both bands reduces setup complexity of a dual-band compressor and provides a musical response that is suitable for virtually any musical application. The TWAIN is remarkably powerful and versatile.
Hear the sound on bass
Sound samples courtesy of Victor Brodén who wrote an in-depth Twain review in the Premier Guitar October 2020 Pedal Issue, p.116. The first take in each track is with the pedal in bypass, followed by another one with compression engaged. Details about the pedal settings for each recording can be found in the Twain Settings Examples.
Whatever bass style you’re playing, the Twain can put you in total control. Then there’s the fact that the Twain can accommodate line-level signals: this and the pristine signal path make it suitable for use as a studio processor.
The engineering feat is admirable. The number of features make this compressor hard to beat. The Becos shines in the heavier settings — compressing like some of the legendary rack units.
It’s amazing how many options Becos FX has put in these boxes. I am not aware of any analog devices that offer a similar range of functions and, despite the numerous possibilities, they can be set quite intuitively.
If you are into compression, the Becos CompIQ Twain Pro Compressor is in a league of its own. The ability to run it in dual band mode or a stacked mode is killer. Though the Twain is a VCA based device, stacked mode makes the device feel and react more like an optical compressor, which it does well.
For any player that wants absolute precise control over their compression, this pedal should be perfect. In line with its predecessors in the CompIQ range, the face of the TWAIN is jam-packed with controls to manage your dynamics.
The new CompIQ TWAIN takes things further. I dare say it may be a little much for some – but it has some amazing possibilities that I’ve not seen in another pedal format. If you are into compression – then this will give you more control than any other comparable pedal-based unit. Becos have steadily been building up a stellar reputation in this field.
Dual-band/stacked effect boasts two independent analog engines, controls for knee, threshold, ratio and make-up gain and much, much more.
Pristine audio processing
The CompIQ series of compressors is designed to maintain the natural tonal character of your instrument while delivering clean and transparent audio compression. With their high dynamic range, these compressors offer pristine and artifact-free processing, free from the usual distortions associated with optical compressors. The result is an unobstructed and natural-sounding clean tone with minimal noise.
Key features
- Dual-Band or Stacked compressor
- Input Preamp with trimming for -9dB of attenuation and up to +6dB of gain
- PEAK level indicator for signals above +0dBu
- Two independent 4320 THAT Analog Engines® with RMS-level sensors coupled with high-performance Blackmer® VCA’s
- Variable 70Hz to 1KHz Linkwitz–Riley Crossover
- Independent Ratio, Threshold, and Make-up Gain
- Independent Compression Knee (Soft/Hard)
- Side Chain Frequency Compensation for balancing the triggering potential of Lows & Highs – equivalent to a frequency-based progressive threshold
- Side Chain Filter (Normal / Low / Deep) on Lows engine
- Independent Dynamic Auto Timing presets (Auto Fast / Auto Slower)
- Dry / Wet Mix knob for parallel compression in either of the working modes
- Tape–Saturation analog circuitry with band-independent Saturation, Cut Filter (HPF on Lows, LPF on Highs), and Level controls to add harmonic distortions to the Dry Line, which then can be mixed with the compressed Wet Line
- 6-LED gain reduction display on each processing engine
- True Bypass on/off footswitch
- 9-18V DC external power supply (not included), center negative, 12mm long barrel plug
- Road-ready, durable, black-powdered aluminum enclosure
- 3-years warranty (direct to manufacturer, international, transferable)
More info
Manual
Setting examples
Compare compressors
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
Before you start
Prior to usage, it is important to note that the CompIQ Twain is a sophisticated device that enables surgical intervention for controlling playing dynamics. A multitude of compression effects can be achieved through minimal adjustments to a combination of its many controls. Because of its complexity, it is better to have a comprehensive understanding of compression controls in general, to optimally configure the device for live performance or studio recording.
The presented settings are provided as initial examples for bass, guitar, or other instruments. However, these settings may be more or less suitable for YOUR instrument, hence it is imperative to explore and determine the best setting that suits your specific setup. It is worth noting that all controls are interactive, and small cumulative and compensating adjustments may produce superior results than turning knobs to extremes and expecting optimal outcomes. We have provided explanations of the settings’ intended purposes to aid in understanding how controls interact with one another.
To ensure optimal results, we recommend testing the CompIQ Twain with an instrument amplifier instead of using headphones. Begin by testing the device alone and later incorporate your settings alongside other pedals.
Twain Block Diagram
To better understand the signal flow through the compressor’s analog engines take a look at the block diagram. You will note that regardless of the operation mode of the pedal – dual-band with variable frequency separation point or stacking the compression engines in series -, the Dry and Wet lines are always signal-phase correct, input to output. The additional level controls for each frequency band on the Dry line (which are part of the Saturation blocks) along with the independent dynamic frequency processing on the Wet line, plus the input Trim Gain that allows either the raise or attenuation of the input signal – they all contribute to giving the Twain an unprecedented power. Think of it not only as a compressor but also as a dynamic preamp. In many ways, Twain is unique.
Here is the Twain Manual for your reference. For more in-depth technical info on our VCA line of compressors please take a look at the CompIQ 101 section. If you have particular questions regarding how Twain works, or you would like to share your feedback or your own settings to be added here, do not hesitate to contact us.
Matching the effect and bypass levels
To achieve a balanced signal, it is necessary to match the effect and bypass levels. The Wet, Dry, and Bypass levels should be set using the Mix, Trim, and Make-Up Gain knobs. It is important to note that the position of the knobs may slightly vary due to the potentiometer and parts tolerances.
Matching the Dry and Bypass signal levels
Be sure the Saturation engine’s knobs are all to a minimum because they all have an effect on the Dry line. Turn the Mix knob fully to the right for 100% Dry, then slightly turn the preamp’s Trim knob until Dry and Bypass levels match (Trim’s dial should be around 2’o’clock position). The Trim attenuates -9dB when fully counterclockwise and amplifies +6dB when fully clockwise.
Matching the Wet and Bypass signal levels
For matching the Wet and Bypass signal levels, the Trim knob should be left untouched after the Dry and Bypass levels are matched. Turn the Mix knob fully to the left for 100% Wet and set both Ratios to 1:1. Use the Make-up Gains, located at the buffer level at around 9’o’clock knob position, to match the Bypass level. By doing this, the effect and bypass signals should have the same level. If they are unbalanced, adjust the Make-up Gains slightly while ensuring that the Mix knob is set fully to the Wet. To verify the setting for both bands, turn the X-Over knob left and right – you should not hear any frequency-level changes, which indicate that both bands are leveled.
Keep in mind
It should be noted that the Wet line in Stacked mode puts up both compression engines in series and the Make-Up Gains also act in series (this also has an effect on consecutive amplification noise!). Therefore, the Wet and Bypass levels should probably be re-matched when changing from Dual-Band to Stacking compressors. However, this is not always necessary in practice. If the input Trim knob is changed, the Wet/Dry and Bypass levels might also need to be re-matched.
Lastly, it is important to understand that the Dry line passes through the input preamp and the crossover at all times. This is necessary to ensure signal phase alignment from input to output in all compression modes – Dual-band or Stacked.
Matching levels: Bypass = Wet = Dry
Using the crossover
Considerations for setting the crossover separation point:
- The frequencies generated by the strings may fall within one band or the other, and the optimal musical point of separation should be determined by ear.
- Twain’s crossover filters are first-order filters, which means that there is a significant overlap of frequencies at the intersection of the two bands. As the bands are separated at the crossover’s set point, they gradually fade into each other, accompanied by inherent phase twisting which is correctly realigned when the bands are remixed.
- The crossover point may actually separate the string’s frequency, which can then be processed in the resulting bands. From a broader perspective, the ear tends to prefer a separation point between 225Hz-350Hz for guitar and between 125Hz-225Hz for bass. However, practical needs may differ, and the crossover should be set for each intended application.
- Twain’s crossover can be a potent tool on the Dry line. It functions as a dedicated preamp for the Dry line only due to the complementary saturation engines with independent Level controls and additional High Pass and Low Pass filters for lows and highs. It can be used to fine-tune the tone more precisely, complementing the parallel compression by adjusting the blend of lows or highs on the Wet Line as required.
- The Make-up Gains on the Wet line can serve as a tilted equalization, with the pivot variable frequency set by the crossover.
Crossover Frequency/Phase Plot
This plot shows the frequency vs. phase with the Crossover set at 1KHz and input and output matched at 0dBu.
Dry Line saturation
When utilizing positive preamp trimming to attack compressors with a stronger signal, it is important to keep in mind that this amplification affects the Dry line as well. This may cause the saturation engines to be triggered even if the Saturation knobs are set to a minimum. The level at which this occurs depends on the input signal level and typically the Dry Line should remain clean for signals up to approximately +2dBu or 0dBV (2.82Vp-p). When applying preamp trimming to an already hot input signal, it is recommended to minimize the injection of dry signal unless the added saturation is desired. Additionally, increasing the clockwise position of the Cut filters can produce a more subtle saturation effect.
General tips for compression
- To minimize noise resulting from stacked compressor engines with series make-up gains, keep the Lows engine’s make-up gain between 9-12 o’clock, and use only the Highs make-up gain to restore volume from the overall compression.
- Instead of increasing make-up gain to make the signal louder while containing noise, raise the threshold.
- To reduce the compression feel, lower the ratio before raising the threshold.
- Use a soft knee and/or slower timing to reduce pops.
- For percussive musical content when compression is used as an effect (such as country or chick’n’pickin), use faster timing.
- To increase the compression feel, use a hard knee before increasing the ratio.
- For a more natural compression feel, combine higher ratios with a soft knee and/or slower timings.
- To maintain a transparent compression, combine a lower threshold with a lower ratio, and vice versa.
- A hard knee amplifies the compression feel, especially when faster timings (both attack & release) are used.
- A soft knee dilutes the compression feel.
Keep in mind that a multiple-band compressor is highly dependent on input frequency content and input level, and since every instrument is unique, these exact settings may produce different results than what is expected based on our explanations.
We recommend exploring each setting individually to understand its effect. Even slight adjustments to pairs of controls can yield significant differences. It is recommended to begin with high thresholds, 1:1 ratios, and make-up gains set to noon before increasing the ratios and decreasing the threshold. To better distinguish the crossover, increase the make-up gain for lows and decrease it for highs, and vice versa.
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Setting Examples
Dual Band – Light Airy Compression
The crossover point has been set at approximately 250Hz. A lower ratio of 3:1 is utilized to maintain a transparent feel while still achieving compression. Increasing the thresholds slightly can aid in this. The Side Chain Filter is positioned on Low to add some freedom to the transients. Soft Knee and Slower Timing are employed on the Lows side for compression to contribute to both transparency and compression feel. To further accentuate the compression feel, Hard Knee is used for compression on the Highs band. Slower timings are utilized on this side to offset the Hard Knee. Make-up gains are balanced to match the bypassed signal.
On the Dry Line, the Highs are amplified to 75%, but they are gently injected with the Mix over the Wet line to balance the intentionally accentuated compression. This results in a crisp and airy compression, which remains unnoticeable until the playing becomes more aggressive.
Tips & Tricks:
- Increasing the input in the preamp section can increase the compression strength for a stronger feel.
- Switching to Fast timing on the Highs or both bands can enhance the compression feel.
- Switching Highs Knee to Soft will dilute the compression.
- Switching the Side Chain Filter to Deep can add more body to the signal.
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Dual Band – Light Airy Compression
Dual Band – Grabby & Plucky Compression
This is a stronger setting, which is suitable for funky or country playing, not so much usable for open chords. This setting applies very well to a brighter Stratocaster or a mid-punchy bass.
The Crossover is set around 100Hz, pretty low, to bloom up the high energy Lows only. The Ratio on the Highs band is increased to 5:1. Soft Knee and Fast Timing on this side are balancing each other. With Side Chain Filter set to Normal, the compression feel is strong. That is more accentuated by the Hard Knee on the Lows band, but ease out by the Slower Timing on this side. Thresholds are just raised a bit to free some audio body and just a little of the Dry line with amplified Highs is injected back for more air.
Tips & Tricks
- Add more transparency by blending in more Dy Highs.
- Raise the thresholds and lower the Make-up Gain to reduce hissing from amplification.
- Use the Preamp Trimmer to soften or amplify the feel.
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Dual Band – Grabby & Plucky Compression
Dual Band – Saturated Compression
The intent here is to add harmonic distortions over the compression. Keep in mind, this effect is applied to the Dry-line only and runs in parallel with the compressed Wet-line. This setting is very suitable for soloing with a guitar with humbuckers.
The compression ratio is kept low at around 3:1 and the Side Chain Filter is set to Low, so that transients are not triggering the compression too early and flatten the Lows. Soft Knee and higher threshold on the Lows band dilutes the compression feel on this side. With the Crossover set around 300Hz, some saturation can still be applied on the Lows side. On the Highs band, the compression is accentuated by the Hard Knee and Faster Timing, but raising the threshold leaves a part of the amplitudes free from compression, which helps with general transparency.
The Mix injects a good portion of the Dry signal over the Wet-line, and the saturation is added on both bands. The dry levels on both bands are raised so that the saturation level is increased.
Tips & Tricks
- Add more saturation grind by raising the Crossover higher and inject more Lows saturation.
- Add more tubescreamer effect by lowering the Crossover and increasing the Highs saturation along with Highs dry level.
- Set the Crossover around 300-350Hz for the best results when saturating both bands.
- Set Side Chain Filter to Normal for more compression feel or to Deep, to dilute the compression in favor of dry harmonics.
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Dual Band – Saturated Compression
Dual Band – Sustaining Compression
This is a heavy compression setting and as a result will add more sustain. This is also clean and 100% wet compression.
The Slower Timing is set on both bands to raise the release of compression. A very high ratio of 10:1 is set on the Lows side, and the Soft Knee prevents some pumping which may still occur, moreover because the Side Chain Filter is set to Normal. The thresholds are raised higher on both bands to free up the body of sound. The Highs ratio is set lower at 5:1 but it is still a lot of compressing here, which is more accentuated by the Hard Knee. Compression is balanced with the Crossover set to around 200Hz.
Tips & Tricks
- Raise the thresholds and lower the make-up gains to contain noise.
- Use preamp trimming to accentuate or dilute the settings.
- Mix back Dry signal to regain the transients.
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Dual Band – Sustaining Compression
Stacked – Dynamic CALIfornia 76
We had the opportunity to experiment with the Cali76 Compact Deluxe, a product from Origin Effects, and found the Dynamic Control setting suggested in their manual to be particularly noteworthy. We elaborated a similar effect on the Twain, which is an entirely different type of technology pedal. Specifically, the Cali76 compression circuit employs Urei’s well-known FET design, which Origin Effects has implemented with a moderate ratio range, fast attack and relatively slow release timings. On the other hand, the Twain is a dual-engine compressor that employs Blackmer VCA technology, and offers separate threshold controls, automatic timing presets, and selectable knee settings on both engines. Despite their significant technological and circuit design differences, we achieved a similar feel and punch with the Twain, and we strongly recommend that you experiment with these settings as well. Although we used single-coil guitars in our testing, we believe that these settings should work well with any type of instrument, including bass guitars.
In Stacked mode, which is the only way to extend the auto-timings, the pedal’s Crossover is set at approximately 250Hz. Our intention is to enhance the Dry line with some brightness, while still retaining a sufficient amount of low-end richness. To achieve this, we raise the Lows Level slightly, and adjust the Dry Highs to maximum while nearly entirely eliminating the Dry Lows using the high pass filter. This particular configuration is the most critical aspect of the setting, as it results in boosting the highs to a level close to the Cali76’s sparkling effect that is renowned for its top-end enhancement capabilities.
The other settings are relatively straightforward, with mellow ratios and slightly elevated thresholds. The Side Chain Filter is set to Low to redirect some of the energy of the Lows to the second processing engine, while the preamp trimmer is increased slightly to add more punch to the dynamic circuits that operate in series.
Tips & Tricks
- Raise preamp input trimmer to accentuate the general compression feel.
- Lower the ratio to reduce pumping, and adjust the gains accordingly.
- Raise the ratios in both engines while adding more Dry to the mix.
- Add Highs saturation in the Dry line to resemble the drive that Cali76 enters easily when pushed harder.
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Stacked – Gluey Sweet Sustain
This is a subtle setting, where a minor adjustment in the knobs will result in a strong change of the compression feel.
In Stacked mode (where one engine sends everything to the next), and with ratios at an exaggerated limiting setting, the compression feel is controlled through thresholds, side-chain filter, gains, and wet/dry blend. The aim is to have the sweetest compression, at the brink of popping but not quite.
Both timings are slower to prolong the consecutive release and the second engine is set to a hard knee, to keep the signal more in sustain. Part of the raw signal is freed up in the first engine only to be sent to the next for the second compression. There too, the threshold is higher, so we will pass some of the signal compressed in the first engine to be less amplified by the second make-up gain. With limiting ratios, a lot of gains would be needed, and that would introduce amplification noise that we try to avoid. We amplify a little more in the first engine, and that means the second one will deal with a stronger signal, but here the threshold is raised a little higher, for compensation. Now, we amplify a little less in the second, to avoid introducing noise. Use the two make-up gain controls in reverse tandem to achieve the desired signal level.
The side-chain filter is employed in the first engine because we want to preserve more of the lows transients which are partially & progressively passed-through, underneath the thresholds.
The Mix is the master dial. With the crossover at around 250Hz (could be set higher still) we amplify the highs in the dry signal, to brighten up the mix. Saturations are raised in both bands to the level where they are almost inaudible; leave them there to transfer some harmonic distortions to the peaks of the compressed signal.
Tips & Tricks
- Use input preamp to change everything with one knob.
- Dialing dry out with the Mix knob will accentuate the compression feel but highs will be washed out as well. Depending on how bright your instrument is, this acts as a master tone control.
- Tiny adjustments in thresholds yield very audible changes; the same is valid for make-up gains. Each should compensate for its counterpart in the other engine.
- Using a pick will pluck the sound.
- Using fingers especially with bass will make everything glue naturally.
- This setting is very suitable for funky playing or country style.
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Stacked – Gluey Sweet Sustaining Compression
Stacked – Warm Clean Optipression
This setting is intended to gently amplify the compression feel given by optical compressors, but without distortions that those introduce. The pedal is put into Stacked mode which means the Crossover is not used on the Wet line. It is still available for the Dry line, and that matters, because we chose to inject more Dry Highs to polish and shine up the compression. The compression engines are in now series.
The thresholds are almost to the lowest point for both bands. It means the compressors act almost immediately, and whatever was freed-up in the first engine (Lows) will inherently be compressed in the next. There is no need to high ratios – just around 3.5:1 should be maxing used, but there are no rules here; it is just the noise from one compressor is transferred and amplified by the next, so proper tweaking is required to contain that. Both compressors are slowed down by setting Slower Timing and Soft Knee. To balance the accentuated compression feel of this setting, the Side Chain Filter is set to Low. Setting it to Deep, means more Lows transients are compressed in the next engine.
The Dry Highs are amplified but not saturated and injected boldly over the Wet line. This reshapes the higher frequency content giving this set a natural feel, albeit the whole setting is very aggressive. This also helps to lower the make-up gains and consequently containing the overall noise.
Tips & Tricks
- Use the Preamp trimmer to accentuate or soften the feel.
- Set the Crossover higher to inject fewer mids through the Dry/Wet Mix.
- Play with thresholds in small increments on each side while compensating with make-up gains.
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Stacked – Warm Clean Optipression
Stacked or Dual Band – Limiting Lows & Compressing Highs
This setting is a variation of the previous one. While in Stacked mode, the first engine only compresses the peaks and the second acts as a full compressor. In the first engine, the threshold is raised a lot and it is set to affect just high dynamic strokes. A high ratio of 10:1, Hard Knee, Faster Timing, and Normal Side Chain Filter set this engine into limiting mode.
The next engine is set with a lower ratio above 3:1, Soft Knee, and Slower Timing. The threshold here is also raised to prevent overcompressing and keeping it sound natural. Because both thresholds are higher, the sound has enough energy so less make-up gain is used. this also contains the noise.
A little Dry signal with amplified Highs is added over the compressed Wet line, to balance everything and make the setting more neutral.
The same strategy can be used in Dual Band mode. That will result in even more transparency. The Lows will barely be touched by the limiter while the compression feel will come solely from the Highs engine.
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Stacked – Limiting Lows & Compressing Highs
Stacked – Gritty Blooming Compression
With this setting, we tried to achieve a blooming compression with added harmonics grit that is suitable for a mid-scooped pickup (we used a Telecaster with the pickup switch in the middle position, hence combining the bridge and neck pickups). With minor adjustments, this setting complemented the crispy bridge humbucker in the same Tele.
The pedal is put in Stacked mode, and the Crossover is set higher, around 800Hz, to allow proper injection of Lows & Highs saturation. That seems to be a magic spot where both saturations feel right. With ratios set to 4:1 in both engines, Normal Side Chain Filter and make-up gains at noon, we use thresholds to balance the compression level, so noise from consecutive amplification is reduced. Hard Knees were set for both engines and, to amplify the compression feel, we raised the input preamp with +3dB, pushing compressors even more. This gives the compression an elastic feel, resembling an optical compressor. Both timings are set Slower and that adds more to the effect.
On the Dry line we injected saturation in both bands, with more of it added to the Highs (where harmonic distortions feel more musical). Some of the shrills were ducked on the Highs using the Hi-Cut Filter. We did the same on the Lows side to make the grind just barely perceptible. Wet and Dry lines are perfectly evened out with the Mix knob.
Tips & Tricks
- Add more bloom by raising the thresholds.
- Lower crossover for adding grit or raise it higher to soften the grit and pump more bloom.
- Set the Crossover around 300-350Hz for the best results when saturating both bands.
- Switch to Soft Knee on both engines to favor more distortions.
- Raise input level even higher to add more elastic feel.
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Stacked – Gritty Blooming Compression
Premier Guitar – Victor Brodén Compression
Sound demos courtesy of Victor Brodén who wrote an in-depth Twain review in the Premier Guitar October 2020 Pedal Issue, p.116. Recorded direct using a Mbox and running Logic X.
Clip 1 – Dual-Band
Fender Ultra Jazz 4 (60/40 favoring neck pickup). Band 1: Threshold 10 o’clock, ratio 11 o’clock, gain 11 o’clock, x-over 11 o’clock. Band 2: Threshold 2 o’clock, ratio noon, mix 11 o’clock, gain 11 o’clock, dual-band mode, fast timing on the low side, and slow timing for the highs.
“I started out by plugging in a Fender Ultra Jazz 4-string because I wanted to see if I could get a modern, active Jazz bass to sound a little less modern and controlled, both in the highs of the pops and the violent low-end attacks of an aggressively slapped 4th string. And I began using the CompIQ TWAIN in dual-band mode with a 3:1 compression ratio. I switched things up with fast timing on the low side and slow timing for the highs. I was instantly struck by how musical my intentionally heavy squash on the low register sounded. The popped notes lost just a little bit of their inherent harshness and fit better into the line I was playing, a bit like slapping through a tube preamp.”
Clip 2 – Stacked
1985 Yamaha BB3000S, with tone at 50 percent and neck pickup only. Band 1: Threshold 10 o’clock, ratio 1 o’clock, gain 10 o’clock, x-over 8 o’clock. Band 2: Threshold 5 o’clock, ratio 11 noon, mix 8 o’clock, gain 10 o’clock, stacked mode, soft knee.
“To me, the true test of a great compressor is to determine how it can “glue” a track together with a bass line that features long note values. I grabbed an early ’80s Yamaha BB3000S, engaged the stacked mode, set a soft knee, and utilized the wet side of the signal heavily. I was rewarded with a truly old-school fat—but not muddy—tone, where my low notes were warm, and my high notes gained a tremendous amount of body and authority.”
Clip 3 – Stacked & Saturation
1985 Yamaha BB3000S, with both pickups dimed. Band 1: Threshold 10 o’clock, ratio 10 o’clock, gain 10 o’clock, x-over 2 o’clock. Band 2: Threshold 11 o’clock, ratio 11, mix 11 o’clock, gain 10 o’clock, stacked mode, saturation controls 3 o’clock.
“Since the stacked mode put such a smile on my face, I kept it engaged while rolling all controls on my Yamaha to their wide-open positions and playing meat-and-potatoes rock with a pick, and boosting the saturation controls on the TWAIN up to 3 o’clock. The pedal added a pleasant mid-scoop while providing an audible saturation with the bass soloed, but a saturation subtle enough to where it will just add presence to the bass in a track without having a forward, audible break-up like a fuzz—a very usable feature indeed.”
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Blog post: CompIQ Twain Settings Examples
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