BECOS FX CompIQ STELLA Pro Compressor with DITOS DI for Guitar and Bass

If you are looking for the convenience of having a high-end analog audio compressor and a transformer DI in a box, we offer one of the most compact and performant option that you can find. The DITOS DI board is really complementary to the superbly transparent Blackmer® VCA’s main output on the CompIQ Stella Pro Compressor. Coupled in series with Stella’s main circuit, the DITOS transformer-coupled balanced output is filled with a warm richness that is excellent for live playing, instrument tracking, or for tone-conditioning of any electric instrument — bass, guitar, acoustic guitar, violins, keyboards, synths, and even vocals or anything else, really, with an appropriate preamp.

CompIQ Stella Pro is the one-of-a-kind pedal that provides an unprecedented amount of control for compression parameters. Packed in a compact, small-sized, road-worthy black-powdered aluminum enclosure, it is the smartest addition possible, to any pedalboard, small or big. With features only found in expensive studio rack gear, this stellar compression effect pedal is ready for professional audio dynamic processing, ensuring the musical response and transparency of analog circuitry.

The CompIQ STELLA Pro Compressor is an all-analog 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.

The DITOS transformer-coupled balanced output is suitable for direct recording or for sending the signal to a mixing console. It can also be used as an unbalanced transformer-isolated floating output to send the signal to another pedal or an amplifier. This brings a new and warm voicing to the main dynamic audio processing. When Stella is in bypass, the signal still passes the DITOS DI, so this may account for an active compression bypass (as opposed to the main output which will be true bypassed). Although the unbalanced main output and the transformer balanced output may be used at the same time, the latter is phase-reversed. A balanced cable with hot/cold wires reversed may be used if both outputs are to be used at the same time. The signal phase may also be switched on the mixing console or in the recording software.

Ground-lift jumpers are available internally for dealing with potential ground loop noise issues. The Ground Lift Jumper on the Stella board connects the chassis to the circuit ground carrying the negative power. The Chassis Lift Jumper on the DITOS board connects the chassis to the Sleeve in its output connector (equivalent to Pin 1 on an XLR connector). They both are ON by default (jumper contacts closed) which means the DITOS output is set by default for use with a balanced cable — a standard balanced type of connection to a mixing console input or to the input of a recording interface. The operation manual has detailed information on how the balanced and unbalanced floating connections can be used and how these jumpers may help.

The DITOS transformer output works exquisitely well to complement the Burr-Brown signal conditioning in the main circuit. The tone is filled with natural warmth, rendering tight and punchy lows, enhanced low-mids, and warm-ringing highs. The audio transformer was intensively tested and selected for minimal distortion, almost flat frequency response, and it will only slightly saturate the very Lows at high signal levels. The transformer is driven by one of the highest performance, low noise, low distortion, and most pristine sounding balanced line drivers out there.

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 X-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.

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 X-EQ equalization circuit dawned in the 70′ Hi-Fi era, has two selectable options for its 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 voice compensation from one instrument to another, or desired, for your particular sonic signature.

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.

An 8-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.

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.

• 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
• X-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)
• 8-LED compression display
• Hi-quality FET audio IC, low tolerance parts, Panasonic & 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)
• 3-year warranty

For more information about the CompIQ series of compressors, please see Becos FX's CompIQ 101