CONTROLS
IN: The Cali76 features a very nice studio-grade input preamplifier. This works as an interface between the guitar and the
compressor sections. In exactly the same way, a studio-engineer will first amplify a dry guitar signal before applying additional
processing. The In control allows the user to vary the gain of this preamplifier.
Turning the In control clockwise increases the overall gain of the pedal. This also increases the amount of compression. The guitar
will become increasingly touch sensitive as gain is increased. Too much gain and the preamplifier will clip and distort.
Compression is greatly reduced at lower gain settings, as much of the signal entering the compressor section falls below the
compressor's internal threshold. Signal level must exceed this threshold in order to initiate gain-reduction. So, at lower gain
settings, only the signal peaks are compressed.
OUT: The Out control simply determines the level of the signal present at the pedal's output. This can be set in order to keep the
overall effected level close to that of the dry (bypass) signal. Alternatively, the level can be increased to help project a guitar solo.
RATIO: The Ratio switch allows the user to adjust the amount of gain reduction applied for any given increase in guitar signal.
At the lower ratio setting, doubling the input signal (an increase of 100%) will result in the output increasing by 19%. At the
highest ratio setting, the output would rise by only 3.5% for the same increase in input signal. The latter case represents
"limiting". As was the case in the Urei 1176, changing the ratio setting also varies the threshold level of the unit. This helps to
keep the output at a consistent level, regardless of settings.
In practice, lower Ratio settings will provide more gentle, transparent compression, while higher Ratio settings will deliver more
aggressive compression with a tightly controlled dynamic range – in other words, the loudest and quietest notes you play will end
up at roughly the same level.
ATT/REL: Compressor attack and release controls are all too often misunderstood, which is unfortunate as they are
instrumental in achieving a usable sound. In most cases attack and release parameters should be adjusted to optimise the
compressor's dynamic response to that of a particular instrument. However, they can also be adjusted to create strong dynamic
effects. Incorrect settings can produce nasty distortions and frequency-dependant artefacts.
