Vaska

On 21/03/2024 at 10:25, greentext said:

Morning baschatters! 

 

As per the title, i'm keen to pick up a CompIQ STELLA Pro Compressor from BECOS, im coming away from using a 'dirty' tone and just a punchy clean bass tone, so having a super dynamic compressor will assist me in getting the most out of my tone. 

 

I've spoken to BECOS direct any they advised coming in here and asking what people experience are as they currently dont have any UK representation so i'd have to buy unseen and just hope for the best. Any one able to advise one there experience? 

 

For anyone who is unsure of what this is and wants to know here is a link to there website page (its a veryyyy slow website to navigate) and a great youtubue video demo of the pedal. 

 

https://becosfx.com/product/compiq-pro-stella-compressor-pedal-for-guitar-bass/#description

 

 

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/

On 25/09/2019 at 17:24, 51m0n said:

Also, why the dashed lines all the way around the main controls? So I know it goes from 1:1 to infinity:1 ratio but I have no idea where 4:1 or 2:1 or 10:1 is on that pot.

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.

On 22/07/2020 at 14:45, Al Krow said:

Thanks very much for sharing that. 

I guess I was looking to understand what a typical amount of compression folk are targeting e.g. is -3dB to -6dB before make up gain. 

I've actually moved my comp, after writing my previous post which you replied, to the end of my board rather than at the start to deal with any spikes from my Proton filter, and there is a noticeable increase in compression resulting when the filter is engaged, as might be expected. My settings aren't a million mile from yours, in terms of ratio, threshold, makeup-gain and dry level. I've gotta slightly faster slower attack (just based on the theory that this should be more punchy) but I'm finding any difference very marginal on that front!

Easier to see on this pic:

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.

2 hours ago, Al Krow said:

Soz - I was referring to the equivalent X-over range on the cheapo 50 pence Zoom effect, which goes from a less useful low of 300hz and then up to 1.5kHz

Would you set the X-over at the top end of the freq range for the reasons set out in my post? [EDIT - I see you've now kindly covered this in your edit!]

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.

9 hours ago, 51m0n said:

Why the Becos dual comp in particular?

One of my favourite bands with monstrous slapination is The Infectious Grooves. Trujillo used two compressors in the studio, one for highs, one for lows.

This is the only dual band compressor I've ever heard of with decent metering on both channels.

I reviewed Al's single channel Becos a while back, it's absolutely superb.

 

This is like that on steroids for slap. The absolute dogs bollox...

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.

20 minutes ago, Al Krow said:

The key point I was making is given the dual band nature of this mega-Becos it would potentially allow both functions under one bonnet, but it can't be in two places at once: it's not a quantum pedal.

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: 

Quote

Available for each engine, the Auto Dynamic Timing adjusts Attack & Release in real time, responding to playing dynamics. Auto Fast (F) is 5‐7ms for Attack, 70ms for Release. Auto Slower (S) is 10‐15ms for Attack and 100‐220ms for Release. 

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.

On 25/09/2019 at 18:24, 51m0n said:

First points to note, this is a VCA compressor built around a THAT Corporation Analogue Engine chip (which retails for about $2.40 for an order of 2000 chips). So a relatively low cost chip at the heart of this thing. But still a good clean VCA compressor chip in a well designed circuit can still be a phenomenal tool in the right hands.

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

On 25/09/2019 at 18:24, 51m0n said:

Sat

Ok, this is an odd one. They have added a saturation effect that is applied to the Dry side of the Wet/Dry only.

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/

On 24/08/2019 at 13:33, krispn said:

Feel free to post your setting once you settle on some and whack up some audio if you can. I'm sure other and potential users would love to hear what you settle on 👍

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:

On 25/09/2019 at 11:24, 51m0n said:

So I know it goes from 1:1 to infinity:1 ratio but I have no idea where 4:1 or 2:1 or 10:1 is on that pot. What a massive error.

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

21 hours ago, Jus Lukin said:

Bringing it back to the Becos Stella, the saturation control, wherever it occurs in the circuit, is adding a clipping section to the compressor.

@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.

On 19/01/2019 at 20:33, dave_bass5 said:

Anyone have any thoughts about this little comp? Pretty sure it wont be liked by those who need full control over everything, but it appeals to me as its quite simple, but with a bit more real time control compared to my Spectracomp. Also Has a dedicated blend knob on the side. 

https://becosfx.com/product/compiq-mini-pro-compressor-pedal-for-guitar-bass/

 

 

 

There is a review on Talkbass.com for this little compressor. It stirred quite a talk about it. You may also find many other compressor reviews there.