Becos COMPIQ TWAIN PRO COMPRESSOR Manual

CIQT-1 COMPIQ TWAIN DUAL-BAND / STACKED
PRO COMPRESSOR PEDAL
MANUAL
Last modified: October 26, 2024
TECHNICAL SPECIFICATIONS
VCA Input Impedance: > 1MΩ
VCA Output Impedance: ~100Ω
DITOS Input & Output Impedance: 10KΩ
0dB input reference level: -20dBu ( 77.5mVrms)
THD VCA & DITOS: <0.12% @ 1kHz, 0dBu in/out, 600Hz crossover,
600Ω load, 24KHz BW, 9-18VDC power, through 6th harmonic
Frequency response: -1dB @ 20Hz; 0dB from 40Hz to 25KHz
Power: 9-12VDC recommended, 18VDC(max), Center Negative
Current Consumption: < 170mAh
DC Power Plug Barrel: Ø 5.1/2.1mm, 12mm long
Product Size: Length: 105mm, Depth: 120mm, Height: 54mm
Product Weight: 275 gr. / 395 gr. with DITOS
Packed Weight: 435 gr. / 455 gr. with DITOS
Packed Shipping Weight (one unit): approx 560 gr.
INTRODUCTION & EFFECT CONTROLS
Thank you for choosing the CompIQ TWAIN Pro Compressor as your
dynamic processing tool. The TWAIN is a state-of-the-art
compressor/limiter pedal featuring two
performance 4320 THAT Analog Engines® and Burr-Brown™ FET ICs,
ensuring transparent, high-end audio processing. The TWAIN
operates in two modes: Dual-Band compression with a variable
crossover point, or fully Stacked compression, where the compressor
engines are routed in series.
DUAL-BAND / STACKED – A side-mounted switch sets the operation
mode of the pedal. In Dual-Band mode, the signal passes through the
variable-point crossover, and each frequency band is sent to its
engine for parallel processing. In Stacked mode, the crossover's re-
combined signal is routed in series through each compression
engine. Each mode creates a different tone-print flavor: Stacking
compressors feels like an optical glueing compressor, while Dual-
Band processing feels like a mastering dynamics tool. Switching the
mode of operation with the pedal engaged, especially while audio is
passing through, can generate a popping sound, which is normal.
CROSSOVER – The X-OVER control ranges from 70Hz to 1 KHz, with
around 300Hz in the middle. The input signal always passes the
Crossover for both lines, Dry and Wet, which ensures correct phase
alignment from input to output. In Dual-Band mode, what is below
the Crossover's set point is sent to the Lows engine and what is
above is sent to the Highs engine. In Stacked mode, the Crossover
sends a full-frequency mixed signal to the compressors in series, and
the Dry Line.
PREAMP INPUT TRIMMER – Adjust the input signal from -12dB
attenuation to +12dB gain. With the trimmer set at noon, the
independent high-
preamp passes the signal unchanged. This setting can act as a
compression driver or a one-knob balancer for the pedal's overall
audio effect. The PEAK level indicator lights Green when the input
signal peaks at -2dBu (1.74Vp-p, or about 0.6Vrms) and Red when
the output stages peak above +2dBu (2.75Vp-p, or about 1Vrms). If
both thresholds are met simultaneously, the LED turns orange. If the
red LED is constantly lit, level adjustments might be needed to keep
the internal signal just below the +4dBu professional line level.
However, signals up to +10dBu can be processed safely from input to
output. The peak level indicator responds to positive adjustments in
both, preamp and make-up gains.
RATIO – This control is available for each engine and sets how much
the audio signal is compressed once it exceeds the threshold. It
ranges continuously from 1:1 to Infinite:1. At 9 o'clock, the control
sets a 2:1 ratio, providing mild, musical compression that gently
evens out signal peaks. At 12 o'clock, it sets a 4:1 ratio. At 3 o'clock,
it corresponds to a 10:1 ratio, which is more aggressive and useful
for sustaining notes. An Inf:1 ratio applies over 20dB of compression,
resulting in a limiting effect. TIP – The more compression is dialed in,
the more make-up gain is required, which can increase amplification
noise.
THRESHOLD – Available for each engine, the Threshold sets the
signal amplitude level at which compression begins. Compression is
applied only to the portion of the signal that exceeds the threshold.
When set very low, compression engages quickly, even for small
input signals. When set higher, it allows a significant portion of the
signal to remain untouched. With a 50dB threshold range, the
CompIQ TWAIN can accommodate a wide variety of audio signals
from many electric instruments, not just guitar or bass. The CompIQ
TWAIN can also be used with line-level signals. TIP – With a higher
threshold, only strong strokes are compressed, leaving the core of
the audio signal intact. This results in greater transparency and a rise
in output level, requiring less make-up gain, consequently reducing
amplification noise.
TIMING – Available for each engine, the Auto Dynamic Timing
adjusts Attack and Release in real-time, responding to playing
dynamics. Two presets are available: Auto Fast (F), with 5-7ms Attack
and 70ms Release, and Auto Slower (S), with 10-15ms Attack and
100-220ms Release. Both settings respond gracefully to any playing
style. TIP – The Fast timings setting accentuates the compression
feel, especially with higher ratios. The Slower timings setting allows
more air into the compression, making it feel more natural, even
with higher ratios.
MAKE-UP GAIN – This control is available for each engine. The more
compression is applied, the more recovery gain needs to be added to
compensate the average signal level loss. In Stacked compression,
these controls must be adjusted carefully as they can quickly
increase amplification noise by acting in series, and can quicly
overload the available headroom. TIP – Raise the Threshold before
adding Make-up Gain. Set moderate compression Ratios and use Soft
Knee and Slower timing to keep noise in check. Additionally,
blending in some Dry signal can help balancing heavy compression.
TIP – In Dual-Band mode, de-balancing gain levels function like a
tilting EQ with a variable pivot point set by the Crossover.
SIDE CHAIN FEED - The FEED switch selects between Feed Forward
(FF) and Feed-Back (FB) compression types, with a combination of
the two in the middle position: Feed Forward mode for compressing
Lows and Feed-Back mode for Highs. While some FB and milder FF
settings may yield similar audible results, FB compression is more
about 'feel' than 'precision,' offering a smoother, airy compression
with less punch. FB mode has a less distinct Knee effect compared to
FF, where Hard Knee is more pronounced. FB mode may not be ideal
for hard-limiting purposes, where FF should be used (reason why we
set the combined mode with FF for Lows, which are in more needs
for limiting). Slower timing and Soft Knee enhance FB compression's
smoothness even further. NOTE – Using too much Make-up Gain in