Control compress the sound and enhance the more vocal like qualities
of single notes.
This control can also produce a fatter, warmer character, especially in
the LEAD Channel. Lower Treble settings, combined with low
Presence settings produce the richest, roundest lead sounds. Try
setting the RHYTHM Channels’ PRESENCE Control at around or
for for the sweet blend of sparkle and cut. This range in the RHYTHM
Channel also tends to give the impression of more headroom. Try a
LEAD Channel PRESENCE Control setting of to start with and
adjust to taste.
PRESENCE: The PRESENCE control in both channels attenuate the high end and control dynamic compression in the power
section. High settings produce more sparkle, cut and lend a more open quality to the Channel. Low settings of the PRESENCE
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PAGE 4
REVERB: The STUDIO CALIBER has an individual REVERB Control per channel. This enables different amounts of the
rich ALL TUBE reverb to be mixed with the dry signal of each channel. It is normal for extreme settings of the REVERB Control to
GAIN TREBLE MID BASS PRESENCE REVERB
INPUT
FOOT
SWITCH
slightly alter the character of the channel as the voicing of
the reverb circuit becomes more dominant in the mix.
3
3
GAIN TREBLE MID BASS PRESENCE
INPUT
FOOT
SWITCH
3
2
3
6
10
NOTE: Avoid setting the LEAD PRESENCE Control to when high Gain and Treble settings are in use. This reduces the
likelihood of annoying microphonic tube problems.
MASTER: The individual channel MASTER Controls serve three purposes in the layout of the STUDIO CAL. FIRST: They
they serve as level balancing controls for each of the two channels. This enables a wide range of front end gain settings to be
matched to a given listening level and the level of
the other channel. SECOND: They act as effects
send controls, for each channel, in the effects loop.
As with many of the controls on the STUDIO
CAL, the best results for balance and tone are
usually found in the medium range of this control.
THIRD: The Master Control is the Recording jacks’
send level control.
When using the direct Recording jack found on the rear panel to interface directly to a mixing board or recorder, this control will
determine the amount of signal you will be sending via this jack. In this application it is usually best to start with the MASTER
Controls set to and gradually increase them to the proper level. This minimizes the possibility of blowing speakers or eardrums
in the event the engineer has an extremely sensitive input headroom setting in place at the console.
0
GAIN TREBLE MID BASS
PRESENCE
REVERB MASTER
INPUT
FOOT
SWITCH
4
4
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