Vaska

The video here is new but it's made with the previous version without voicing, feedback compression, and the other features introduced with mk2. There are more comments about Stella Mk2 on Talkbass and BECOS published one of them on their IG: https://www.instagram.com/p/C4oMSUoM6Nf/

The manual says: RATIO ‐ This control sets how much the audio signal is going to be compressed after it passes above the set threshold. It has a continuous range starting from 1:1 (for one unit of input signal level you get one unit of signal output level, which implies no compression is applied) and up to Infinite:1. At 9'clock, the control corresponds to a 2:1 ratio ‐ a mild, musical and very useful compression, which delicately evens out signal level hikes. At 12'clock it corresponds to a 4:1 ratio ‐ usually set when more compression feel is desirable, like when playing arpeggiated chords. At 3'clock it corresponds to a 10:1 ratio ‐ a rather aggressive compression, which may be desirable when note sustain is needed. Passing over the 20dB amount of compression, the reduction in amplitude tends to behave like the Inf:1 ratio. This corresponds to a Limiting effect. When used as a limiter, use Threshold control to set the level for triggering the compressor and set Ratio above 10:1.

Try testing a faster attack (around 9-10 o’clock) and SCF to Normal, for a punchier kick. With soft knee, SCF and higher threshold, the compression must be very washed out at that low ratio. But that also depends on the instrument’s pickup power. Another way to make it punchier is moving to hard knee, again with a faster attack (but not the fastest), and a faster release time, while leaving the SCF to Low.

At 300Hz a crossover would be above the highest note on the bass, so you wouldn’t benefit much from it since on the highs you will only process harmonics. Ideally, a crossover point should separate at least the lowest string’s frequencies. If you can go even lower a bit, it should be better. But the lower you get, the more isolated the lowest note will be, and you may want to balance the processing of lows and highs, so it will sound rather even on the whole neck. In practice, the playing style and musical content will tell you where to set the crossover. And because of band’s separate gains, you can actually eq the output of a dualband compressor. A sort of dynamic eq, that is - a virtue in itself.

I vote for limiting and compression at the start of the chain, but truth is there are no rules, especially if the music sounds good.

In stacked mode it could be set as limiter in the first engine, with fast timing, hard knee, high threshold and high ratio, leaving most of the signal unaffected, and as a regular compressor on the next engine. And when adding sidechain filter and band dry blending you get a lot of control for just one box. EDIT: I suppose even in dual band mode it could be set for something similar, where the low side would be configured as limiter, since there is the higher amplitude content. The crossover would set the point on the strings where limiting fades into compression.

From Becos CompIQ Twain manual: At 5ms attack is pretty fast for limiting purpose, I’d say. 5ms is only one cycle of 200Hz frequency.

I suppose it was the same from begining. All compiq's have 4320 analog engine and been designed around that, as they say. Even the Mini and Mini 1. Pictures of the boards are shown in their instagram feed without reserve. They actually say in product description that they use the top-class chip, although they don't name it exactly. One should open their pedal to actually convince himself. If anyone having a Mini can do that, would be nice to have another solid proof, but I don't see this not being true. There is a difference in the chips, especially in the dynamic range and total harmonic distortion, 4320 having better specs than 4305. One thing should be mentioned though. 4305 is the dual supply powered replacement of 4301 chip which is now obsolete. 4320 is single supply powered and that explains the battery option. Also 4320 has 28 pins and that can be seen in all their board pictures old and new. 4305 and the rest of that chips have 16 pins. Is good to see they use the best in class chips. Your review captures everything about this pedal, and I can concur in your findings. This is one of the best featured pedal on the market today. Even the Mini's are better spec and featured than anything else in the same format.

Finally got mine and open it. The THAT chip inside is not 4305 but the higher end 4320.

Just curious, did you filter the saturation effect by removing the jumpers for Low & High cuts?

Becos Compiq Stella comp is being nominated for "best effects pedals of 2019" on Guitar Mag. The only compressor in the 10-pedals selection. Voting ends Nov. 4. https://guitar.com/features/awards/best-effects-pedals-2019/

Don’t know if you all seen/hear this, but these audio clips are very well recorded, demonstrating the response of the compressor to different playing techniques:

Their Manual says that at 9'oclock the ratio is 2:1, at noon is 4:1 and at 3'oclock is 10:1.

@Jus Lukin As per manual and feature description, the saturation in Compiq Stella acts upon dry line ONLY, and that can be mixed with the compressed signal through the blend control. It is parallel compression / harmonic distortion.