This falls as well within the first quarter of the Threshold knob’s rotation range. One other fact to point out is the range of a pickup signal, which is in the lower 25% of the pro signal level. This is equivalent to setting our compressors with the lowest threshold, and then varying the compression amount with the Ratio control. As opposed to this kind of design are the compressors which have a very low threshold set hard within the circuit, and they would be controlled through “compression variation” only. We wanted that so that we cover a broad spectrum of usage.
The CompIQ line of compressors is made to accommodate either lower OR hotter signals, and that is the reason why it can also be used with synths or other line-level devices. Some other compressors distort a lot, for various reasons, and headroom (or lack of it) is one of them. This gives a huge amount of headroom for the instrument’s generated signals, which ensures the compressor is not distorting with high-level spikes. The +4dB pro signal line level is at the top of this range, and consequently at the far clockwise end of the Threshold knob. The threshold’s 50dB of range is designed to accommodate very weak and up to pro-audio level signals.
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