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Note:This is a Replace version for Cali 76
Description:
- Compact Deluxe brings studio-grade FET compression to your pedal board. Recreate your favourite recorded guitar tones with high-current, low-noise, discrete Class-A circuitry and a dedicated parallel compression control, all in a compact enclosure.
Features:
- Studio-grade FET compressor in a pedal format.
- High-current, low-noise, discrete Class-A circuitry.
- Dedicated Attack and Release controls.
- Dry Blend control for instant parallel compression.
- Fully sweepable Ratio, Input and Output controls for precision settings.
- Classic jewel lamp functions as an intuitive three-colour gain reduction meter.
- 9 to 18V operation, for increased headroom.
- Tour grade, all metal construction.
- High-impedance buffered bypass with silent switching.
CONTROLS
IN: This guitae effects 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.
DRY: The Dry control varies the amount of dry, uncompressed signal present at the pedal's output, thereby mixing the original,
uneffected signal back in with the compressed signal. You can adjust the balance between the compressed and uncompressed
signals by adjusting the Out and Dry knobs accordingly. Correct adjustments should deliver the increased sensitivity and sustain
of the compressed signal, combined with the greater dynamic integrity of the uncompressed signal.
RATIO: Turn the Ratio control clockwise to increase the compression ratio. The Ratio control allows the user to adjust the
amount of gain reduction applied for any given increase in guitar signal. At the lowest 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.
ATTACK: Turn the Attack control anti-clockwise to increase the attack time. The attack parameter can be thought of as the
time taken for the compressor to react to the presence of a signal, i.e. the delay from the instant when you play the note to the
moment the compressor actually reduces the gain. The longer the attack time/delay, the more pronounced the beginning of each
note will sound. Increasing the attack time highlights the percussive "snap" of picked notes.
Reducing the attack time to a very short duration will result in undesirable distortion being generated. This will be heard to a
greater extent when playing bass notes.
RELEASE: Turn the Release knob anti-clockwise to increase the release time. The release parameter can be thought of as
setting the duration of the gain reduction applied to the signal. This would be measured from the time that compression is
triggered to the point that the compressor has returned to its idle state. For maximum effect when processing guitar, the release
time must be set so that the compressor responds fully to every note played – in other words, short enough for the compressor to
fully recover in the time between one note ending and the next note beginning.
JEWEL METERING: Simple! Red for no compression. Orange for active compression. The brighter the lamp, the greater the
gain reduction. Yellow signifies that gain reduction has reached 27dB. Maximum compression occurs around 38dB.
CONNECTIVITY & POWER REQUIREMENTS
INSTR: Insert your guitar, other instrument or signal source here. The ultra-high input impedance will even work with
piezoelectric pickups, provided that the connected lead is of sufficient quality and is reasonably short in length (a long lead will
“load” a piezoelectric pickup, reducing the bandwidth).
We usually recommend placing our pedals directly after your guitar, to maximise signal-to-noise ratio. However, in rare instances
you may prefer to place the compressor after your overdrive pedals – for instance, if you are looking to even out changes in level
caused by kicking in a range of drives.
AMP: Connect to your amp or other pedals. The output impedance is low in all modes, so the unit will drive signals down the
connected guitar lead, overcoming the issues of high-frequency signal loss associated with passive bypass systems.
9-18VDC: Insert power here. A high-quality regulated supply should be chosen to avoid damage from voltage surges and other
over-voltage conditions. The connector should be the 2.1mm type with the centre-pin "wired negative". For best performance, the
pedal should be powered from an 18V supply. This will increase the headroom, allowing cleaner processing of conventional guitar
signals. This will also permit the use of hotter source signals, such as active guitar pickups.
